Guide to Literary Agents

For anyone who follows the ridiculous adventures of my Cincinnati rock cover band, you may have noticed that I don't put video up of us. Truth is, I'm self-conscious. Someone missed a note, or this didn't sound right, or that's blurry, blah blah blah.

Well, no more of that. This is my band playing "Alive" by Pearl Jam at a recent fall show. That's me playing guitar on the right.

Cover Band Venting

Saturday, October 31, 2009 7:12:36 PM (Eastern Standard Time, UTC-05:00)

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Friday, October 30, 2009

Agent Advice: Erin Murphy of the Erin Murphy Literary Agency, Inc. (Part I)
Posted by Chuck

This interview with Erin is
Part I. Here is Part II.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features kids agent Erin Murphy of the Erin Murphy Literary Agency, Inc . Erin specializes in kids book and has agented for 10 years. She's based in Arizona.

She is seeking: Erin has a unique submission policy and only likes queries from writers she has met at one time or another, or writers who come through an impressive referral. She seeks kids books—young adult, middle grade and picture books.

GLA: How did you become an agent?

EM: I was editor-in-chief at Northland Publishing and its children's imprint, Rising Moon, here in Flagstaff, Ariz., before going out on my own as a freelance editor. When lots of children's writers reached out to me and asked me to critique their manuscripts, distill/interpret comments they'd received from editors, and the like, it was a short hop to helping them sell the manuscripts to publishers. I didn't set out to become an agent, but it turned out to be a good fit for me. I love my job.

GLA: What are some sales you're excited about?

EM: I keep my recent sales list updated at Publishers Marketplace. I am so excited about the releases my clients have coming out early in 2010—it's going to be a banner year!
       Really lively, fun picture books: Jean Reidy's Too Purpley!, Chris Barton's Shark vs. Train, Audrey Vernick's Is Your Buffalo Ready for Kindergarten?
    Great chapter books and middle grade: new Theodosia and Nathaniel Fludd books by R.L. LaFevers; the latest Effie Malone book by Mary Hershey; stunning debuts from Olugbemisola Rhuday-Perkovich (Eighth-Grade Superzero) and Sarah DeFord Williams (Palace Beautiful); Laura Resau's first middle-grade story, Star in the Forest (Laura's YA, The Indigo Notebook just released last week!)
        Keep-you-riveted YA novels: The second half of the Oathbreaker duo, Prince Among Killers, by S.R. Vaught and J.B. Redmond; debut YA author C.J. Omololu's Dirty Little Secrets, about the daughter of a hoarder; the latest gorgeous read from Heather Tomlinson, Toads and Diamonds.

GLA: Why do you love kids books? What draws you to them?

EM: I love the clear connection between story and reader. There are so rarely filters the reader has to work through, layers of pretense or literary ambiguity that makes reading a scholarly exercise—but re-reading brings new meaning and new understanding, so it doesn't have a lack of richness. Emotion is so clear, whether it is pain or delight. Reading children's literature feels like tapping into something primal. I constantly have in mind the new readers out there, coming to new books; it is so satisfying to help writers to reach them!

GLA: Concerning YA and MG, what do you find yourself drawn to?

EM: Unforgettable characters; stories with heart; emotional transformation; strong relationships; laughter; tight plots that surprise me; worlds I don't want to leave. I like to connect with the protagonist, so disaffected characters have to let the reader behind the mask to catch my heart. I don't tend to get on the bandwagon—I'd rather turn the conventional story or the hot new thing on its head—so I'm rarely intrigued by a pitch along the lines of "Twilight meets X" or "the next A-List." I've been seeing a lot of stories for middle-graders that feel as though they would have fit in perfectly with new releases ten or twenty years ago; they are missing a freshness and a smartness that today's successful middle-grade stories need to have. For YA, I see a lot of stories that are supposedly about teens, but the characters feel 11 or 12 to me.
        I'd love to see solid, well-constructed mysteries with strong characters for either age; more romance (sweet young love for middle-grade, intense sparking for teens); and characters who reflect the splendid diversity of today's children (multicultural, biracial, homosexual, struggling with gender issues; with single parents, gay parents, grandparents doing the parenting; with half-siblings, siblings much older or younger than themselves; in nontraditional situations like house-sharing or single parents filling in for each other to cover gaps; religious, spiritually seeking, or forging their own spiritual paths) in a way that is fully integrated into character and story, not tacked on, not preachy, and not treated as a problem.
        I tend to like fiction that others might find "too quiet," but encourage writers to find a way to give them hooks—which doesn't mean throw in a werewolf or change the setting to somewhere more hip, it means give the story something to hang a description on, something that makes for an eye-catching cover and title. Can you still describe it in one sentence even if it's character-driven and quiet? With the right "something," yes.

GLA: What are some problematic chapter 1 clichés that you see often in a YA/MG partial?

EM: The biggest thing is starting in the wrong place—either having lots of backstory at the opening, which keeps readers from engaging, or conversely, starting so much in the moment of the story that, again, it's hard to connect with the main character. It can be hard to give enough context and get the story moving at the same time. The other thing I see a lot is "talking heads"—all dialogue, no narrative.

GLA: If someone was chatting you with over dinner and said they have a story but don't understand the line between MG and YA, how would you explain the difference?

EM: Is there a line? It seems to me there is scale more than a line. An editor said to me recently that if the main character is 14, it automatically gets shelved in YA in the chain stores. There's a line. But I work with authors whose light and wholesome novels, with teen MCs, are read mostly by tweens; and others whose novels are populated by middle graders going through such intense experiences that the readership skews to the high end of MG/low end of YA.
        In my mind, the best people to decide who the readers are for any particular book are the kids themselves, and the teachers and librarians who know the kids they work with, and who stay abreast of what is happening in today's juvenile literature. I try to focus on helping my clients making their stories the best stories they can be, rather than fitting them into boxes. The line sometimes feels like a moving target, and the writer has little control over it; better to focus on what you can control, which is how good it is.
        That said, characters should feel as though they are truly the age they are supposed to be—and that age *today*. Kids are more savvy than they used to be even five or ten years ago. They are exposed to more and more at a younger age. Writers should respect their readership accordingly.

My Fair Godmother

Want more on this topic?

Interview: Kids agent Joe Monti of Goldblatt Literary.

Examine great high concept hooks for children's books.

New agency seeking kids work: Rodeen Literary Management.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Children's Writing

Friday, October 30, 2009 8:38:57 AM (Eastern Standard Time, UTC-05:00)

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Thursday, October 29, 2009

'20 Tips on Query Letters,' as Told by Agent Janet Reid
Posted by Chuck

Guest Blog by

contributor Ricki Schultz.

Agent Janet Reid of FinePrint Literary Management gave an intensive workshop on queries at the South Carolina Writers Workshop. Here are 20 tips to writing an effective query, according to the Query Shark herself.

FOR STARTERS

• Be professional. It’s a business letter—not a personal letter.

Regarding salutation and tone, err on the side of caution because formality is never out of place.
“Dear Agent” or “To Whom It May Concern,” however, is too impersonal.
Pet peeve: If you’re querying an agent’s direct e-mail (i.e. “janet@” and you address the query “Dear Agent,” you don’t come across as being too smart.

• Be comfortable with computers. Publishing is moving toward the electronic age, so move with it.

Have an e-mail address with your name in it (e.g., SuziWriter@gmail.com). This shows her you are professional. How is she to take you seriously if your e-mail is cutiepiehoneyface@aol.com?
Have your own e-mail account—not one you share with a spouse.
Have a Gmail or Earthlink account. She says AOL is bad for queries because its spam filters sometimes eat e-mails without your knowledge, and you could be missing a reply.
Also, add the agents to your “safe senders” lists to ensure you receive their replies.

• Use a referral. Agents always move referrals to the top of the stack if someone they know vouches for the writer.

Do not, however, quote your rejection letters, friends, critique partners, paid editors, or conference critiques. These comments are not the same as referrals.

THE NITTY GRITTY

Don’t start with a rhetorical question. You’re talking to really sardonic people in New York City, and they’re not going to answer the question how you expect.
Get right to the main character—by name.
Tell who he/she is, and do it in as few words as possible.
Tell what happens to him or her—the initial point of conflict in the book.
Show two choices the main character faces as well as the consequences of those choices. The stakes must be high.

SUREFIRE QUERY KILLERS

“Fiction novel.” A novel is fiction, so when someone writes “fiction novel,” not only is it redundant, it makes the writer sound ignorant.
“Surefire bestseller.” Let the agent be the one to decide that. Declaring your work to be the next best thing shows you know little about the industry—and that you’re probably too arrogant for the agent to want to work with you.
“Film potential.” Janet says, “First of all, you don’t know shit.” (See arrogance comment above) Also, she’s not a film agent. She just wants to know what the book is about.

KEEP IT OUT

Inspiration. You only have 250 words, so don’t waste them. Stick to showing her what the book is about because how you came up with the idea does not interest agents in the query. “It’s the equivalent of making sausages,” she says. “I do not want to see you do it.”
Personal information. It doesn’t matter to agents where you live or how many cats you have.
Sometimes work information is relevant to you being the only person able to write a particular book; however, sometimes the worst people to write certain types of books are those who actually do those occupations (e.g., cops hate cop shows, doctors criticize medical dramas). They know the reality of the job too deeply, and it doesn’t make for good fiction.

TAKEAWAY

A query letter is the foundation upon which your publishing career rests, so remember: You can query too soon; you cannot query too late.

Janet Reid's publishing background includes 15 years in book publicity with clients both famous and infamous. She specializes in compelling fiction, particularly crime fiction, and narrative non-fiction, and she keeps a blog about agenting as well as a query critique blog.

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals | Writers' Conferences

Thursday, October 29, 2009 12:27:23 PM (Eastern Standard Time, UTC-05:00)

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Wednesday, October 28, 2009

How to Get an Agent’s Attention (SCWW Guest Post)
Posted by Chuck

This is a guest post from Lisa Katzenberger,
on an agent panel at the
South Carolina Writers Workshop.

Eleven agents attended the SCWW conference and four participated in the panel discussion “What Gets Our Attention.” They didn't mention fun things like serving them mashed potatoes in the buffet line or skywriting your query over lovely Myrtle Beach. Instead, they gave us simple advice, a great reminder that it’s not really rocket science. Here are the best nuggets from the session with agents Jeff Kleinman (Folio Literary), Barbara Poelle (Irene Goodman Agency), Jenny Bent (The Bent Agency), and Scott Eagan (Greyhaus Literary).

It’s Not Personal, It’s Business

Just like in The Godfather. At least in the publishing biz, you’re not going to wake up snuggling a horse’s head just because you queried an agent who doesn’t rep your genre. (Probably.) So, keep your business hat on when approaching agents and be professional.

They want to work with someone who understands the business and can represent their agency professionally.
Barbara reminded us that it’s called the publishing industry, not the publishing feelings. Agents understand that there’s a lot of emotion tied to the time and effort an author dedicated to their book. But you have to be able to separate that emotion when querying and see the business side of a decision.
Don’t be funny in a query -- don’t pretend you’re writing as your main character.
A query letter is a business letter – a cover letter to apply for a job. Your resume? Well, that’s the manuscript.

Have a Unique Story

There are no new stories, just different ways to tell them. Make sure you know what’s special about your love story or cozy mystery that makes it stand out from all the rest.

Scott Eagan said he needs a book that’s more than just well-written. He needs a book with a unique twist.
Barbara Poelle encouraged writers to find a unique take on a formula that works.
Jeff Kleinman stressed how no one wants to read a book they’ve read before.
Jenny Bent wants to see your voice in your query letter. She looks for a great opening line and a story that really grabs her.

The Hook, The Book, and The Cook

Barbara Poelle used this catchy line to describe the three ingredients of your query letter. The hook is a one sentence description of what your book is about. Yes, one sentence. Check Publishers Lunch for examples of great loglines. The book: four or five sentences that give more detail about the story. The cook: brief information about you, the writer.

Love Is in the Air

Would you want to marry someone who’s kind of in love with you? Or someone who is head over heels crazy about you and will go to the ends of the earth to make you happy? Don’t be upset when an agent turns down your manuscript because they weren’t fully in love with it. You’re entering a long-term relationship with an agent, and just like a marriage, you want to find the partner who’s crazy about you.

Jeff Kleinman likes to follow this rule of thumb: “Only represent stuff you totally, absolutely love.”
Agents are reading submissions in their free time. They do this job because they love books, just like writers do.
Barbara will reject a book if she doesn’t feel she can be that author’s strongest advocate.
Query agents who represent authors you love to read. Chances are, they’ll dig your type of writing too.

So to get an agent’s attention, be professional in your query and unique with your story. Like a good cook who can rattle a recipe from memory, know your story’s ingredients when selling your book. And if an agent turns you down, don’t get discouraged. Remind yourself that you’re waiting for someone who loves your book as much as you do.

Guest blogger Lisa Katzenberger
runs the Fiction City Blog and
is also on Twitter.

Want more on this topic?

Interview with agent Jenny Bent of The Bent Agency.

Interview with agent Scott Eagan of Greyhaus Literary.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns | Writers' Conferences

Wednesday, October 28, 2009 11:59:58 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Tuesday, October 27, 2009

Successful Queries: Agent Jessica Faust and 'The Accidental Demon Slayer'
Posted by Chuck

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 18th installment in this series is with agent Jessica Faust (BookEnds, LLC) and her author, Angie Fox, for her book, The Accidental Demon Slayer. Fox's popular book has already spawned two sequels.

Dear Ms. Faust,

Straight-laced preschool teacher, Lizzie Brown, never lies, never cusses, and doesn’t really care much for surprises. When her long lost Grandma Gertie shows up on her doorstep riding a neon pink Harley Davidson wearing a “kiss my asphalt” t-shirt and hauling a carpet bag full of Smuckers jars filled with road kill magic, Lizzie doesn’t think her life could get any stranger. That is, until her hyper-active terrier starts talking and an ancient demon decides to kill her from his perch on the back of her toilet.

Lizzie learns she’s a demon slayer, fated to square off with the devil’s top minion in, oh about two weeks. Sadly, she’s untrained, unfit and under attack. Grandma’s gang of fifty-something biker witches promises to whip Lizzie into shape, as long as she joins them out on the road. But Lizzie wants nothing to do with all this craziness. She simply wants her normal life back. When she accidentally botches the spell meant to protect her, she only has one choice – trust the utterly delicious but secretive man who claims to be her protector.

Dimitri Kallinikos has had enough. Cursed by a demon centuries ago, his formerly prominent clan has dwindled down to himself and his younger twin sisters, both of whom are now in the coma that precedes certain death. To break the curse, he must kill the demon behind it. Dimitri needs a slayer. At long last, he’s found Lizzie. But how do you talk a girl you’ve never met into going straight to Hell? Lie (and hope she forgives you). Dimitri decides to pass himself off as Lizzie’s fated protector in order to gain her trust and guide her towards this crucial mission. But will his choice to deceive her cost them their lives, or simply their hearts?

The Accidental Demon Slayer is an 85,000-word humorous paranormal. I’m a member of RWA and the partial manuscript placed first in the Windy City RWA’s Four Seasons contest. The judge for that contest, Leah Hultenschmidt of Dorchester Publishing, has just requested the full. As an advertising writer, I’ve won multiple awards for my work in radio dialogue.

I would be happy to send you the complete manuscript. Thank you for your consideration and time.

Sincerely,

Angie Fox Gwinner

Commentary from Jessica:

I think this is probably one of the more perfect query letters I’ve seen. Yes, the pitch paragraphs could probably be shortened to two at the most, but it works as is, possibly because Angie’s voice shines through in each paragraph. You might also notice that Angie used a different technique than most writers. She launched right into her pitch and kept the title, genre, and word count to the end. This worked for her. Instantly readers knew that this was humorous and got a great sense of her voice.

One thing you can't see with this letter is that Angie only included her e-mail address. This is fine, but I would suggest also including your phone number. You just never know when an agent would prefer to call and you always want to make it as easy on those agents as possible.

I think by reading this letter and knowing what the subject line said, you can see why I immediately jumped in and read this with enthusiasm. Angie e-mailed me the full manuscript and I read it quickly and offered representation. Well, we were more than delighted when Angie’s debut novel, The Accidental Demon Slayer, was published this year and spent two weeks on The New York Times extended list.

The Dangerous Book
For Demon Slayers

Want more on this subject?

Successful Queries: (Fiction) "Hotel on the Corner of Bitter and Sweet"

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Successful Queries

Tuesday, October 27, 2009 6:53:46 PM (Eastern Standard Time, UTC-05:00)

Comments [4]

Get Involved With the GLA Blog!
Posted by Chuck

Well do ya want to get involved? Huh huh dooya dooya? The GLA blog is a well-trafficked site and there are different ways you can get involved if you're feeling saucy. Remember, if you want to contribute, contact me at literaryagent@fwmedia.com and we will talk.

----------

1. Been to a conference recently? Guest blog! If you went to a writers' conference recently and took notes on a great session that had to do with queries, proposal, synopses, platform, submissions, etc., then why not write about it and share what you learned?

2. Contribute a "How I Got My Agent" column. Do you have an amusing story about snagging a literary agent? Share it with other writers. Click on "How I Got My Agent" on the left to see all posted examples.

3. Help to contribute a "Successful Query" column. If you got a literary agent with a query, this recurring column examines successful queries with some thoughts from the agent on why the letter worked. Click on "Successful Queries" on the left to see all posted examples.

4. Subscribe to the blog's RSS feed. If you want to be notified by e-mail of when posts are added, simply put your email in the empty box on the upper left hand corner of the home page.

5. Add me to your blogroll! I always appreciate hits from readers :-)

Tuesday, October 27, 2009 12:09:55 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Monday, October 26, 2009

My Adventures in Myrtle Beach ...
Posted by Chuck

Got back recently from the South Carolina Writers' Workshop, a big ol' conference down in Myrtle Beach. One of the first things I did when I got there was run on the beach. So. Awesome. Being from Ohio, I never take beach time for granted.

The conference went well, and lived up to its claim to fame by bringing in about a bazillion agents and editors. Well, maybe not a bazillion - but 11 agents, I believe, and about six editors.

As you can see below, I already blogged agent Elaine Spencer's session on queries and her personal preferences. At least two more guest posts will be coming on sessions by agents Janet Reid and Scott Eagan. If you attended the conference and took notes on a session, and want to compose a guest post, write to me at literaryagent@fwmedia.com. We'll talk.

Myrtle Beach

Want more on this subject?

5 articles on making the most of a writers conference.

How to pitch an agent at a conference.

The next Writer's Digest Editors Intensive event is Sept. 11-12, 2010. All attendees receive a critique of 50 pages of their work.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Writers' Conferences

Monday, October 26, 2009 6:35:30 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Agent Elaine Spencer Talks Queries
Posted by Chuck

Agent Elaine Spencer of The Knight Agency talked queries at the South Carolina Writers Workshop. Here is what she had to say:

ABOUT HER INDIVIDUAL TASTES:

She likes you to explain the resolution of the story in the query - meaning you say how the story ends. (This is not typical, but important if you are contacting her.)
In queries, skip jargon that will confuse. For example, when writing a fantasy or sci-fi story, lay off species and world-building.
Avoid cast lists in queries.
Specifically, with the "historical romance" she seeks, she is looking for more good work - particularly Victorian era stuff, Edwardian era stuff and Regency.

ON QUERIES:

Give the title, genre and word count upfront.
If you have a reason you chose her (e.g., you met her at a conference or read an interview with her), say so.
When you pitch, get to your protagonist as quickly as possible, and tell us what makes them special or different.
After introducing the protagonist, introduce the conflict or complication or trouble (the "hook").
In the last paragraph, feel free to mention awards or organizations or blogs. This info will not hurt you; it may or may help you.

MORE

Her agency receives 50,000 queries a year and 80 percent are not appropriate submissions for their agency.
Make sure you are querying an agent who reps what you write.
Read cover copy of similar books in the bookstore to help shape your pitch.
Don't write to her after a rejection and tell her she's an idiot and will be sorry when you're a famous writer.
Network at conferences!

Elaine Spencer joined The Knight Agency in September, 2005. Elaine belongs to the Association of Authors' Representatives (AAR) and Romance Writers of America (RWA). She is actively building her client list, and is currently accepting submissions of the following types of books: commercial literary fiction, women’s fiction, contemporary romance, historical romance, romantic suspense, high-concept paranormal fiction, young adult and middle grade fiction, and select pop-cultural nonfiction.

Want more on this topic?

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Queries and Synopses and Proposals | Romance | Writers' Conferences

Monday, October 26, 2009 1:20:07 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Sunday, October 25, 2009

How I Got My Agent: Shelli Johannes-Wells
Posted by Chuck

"How I Got My Agent" is a new recurring feature on the GLA blog. I find it fascinating to see the exact road people took that landed them with a rep. Seeing the things people did right vs. what they did wrong (highs and the lows) can help other scribes who are on the same journey. Some tales are of long roads and many setbacks, while others are of good luck and quick signings.

To see the previous installments of this column, click here.

If you have a literary agent and would be interested in writing a short guest column for this GLA blog, e-mail me at literaryagent@fwmedia.com and we'll talk specifics.

This installment of "How I Got
My Agent" is by Shelli Johannes-Wells.
Shelli recently wrote her first novels
for children and her agent is trying
to sell her books.

EARLY ROADBLOCKS

I had never written a day in my life unless you consider my nutrition essay that won an Elementary state competition. Somehow, I don't think that counts. Even though I was doing business writing and spent 18 years in marketing, I never dreamed of being a fiction writer until I got pregnant with my first child. When I had my daughter in 2004, I took five months off. One day, I got an idea and started writing during her naps and late at night. Soon, I queried with my first draft (a big no-no, right?). I did a mass mailing without researching anyone! (another big no-no!) and rightfully received more than 100 form letter rejections from agents/editors. However, my manuscript ended up at acquisition meetings at two different houses. Unfortunately, it didn't make it.

I got frustrated and threw in the pen. Shelved my manuscript and turned off the computer. I mean, who was I kidding? I can't be a writer when I have never taken a creative writing class. Who did I think I was? I went back to working in marketing but something was missing now. In late 2006, I got pregnant with my son (do you see a trend?). I got another idea and started writing again. This time, I got more serious and joined SCBWI. For many personal reasons, I couldn't finish it. In the meantime, I wrote a tween non-fiction book that went to acquisitions at a huge brand name house but also didn't made it. I was so frustrated, I gave up again.

March 2008: I went to a conference where I actually talked to people and met Jessica Dehart. She and I started an informal critique group! This fabulous group of writers helped me finish the book and in 6 months it was ready for submission.

MAYBE - JUST MAYBE

Oct 2008: I queried a few agents. An agent replied, saying she liked my voice and setting, but hated the plot. More personal rejections followed saying the same thing. I sent out another round and waited. To prevent myself from going crazy, I needed to keep busy so I started my marketing blog to help other authors better market their book. I also began another book. I immersed myself in the industry and learned as much as I could. I did interviews with editors and agents and began building a platform. (My marketing blog got 40,000 hits in nine months!)

One of my blogger friends e-mailed me after seeing my blurbs and recommended her agent. This was so sweet because she had never met me; she just liked my writing. I sent my manuscript to her agent. A few weeks later, I got a promising letter saying, she " loved my characters, voice, and setting, but absolutely hated the plot." Same comment! The huge difference in this rejection was that at the bottom she said "if you revise it, I might be inclined to review it again.

Might?!

That was all I needed. A chance. Some hope. Since I had already gotten similar feedback, I decided to revise. I dove in and spent the next few months reoutlining and totally redoing my book. I changed the premise, rethought the plot, and reWrote (not revised!) about 70,000 words - all because of that one chance No guarantee, just a shot!

SUCCESS WITH ALYSSA

In April of 2009, I sent the agent my revised book. While I waited, I went against all advice and re-queried (another no-no!) the few agents who had sent me personal rejections (my current agent was one of these lucky few :) I asked if I could resubmit and I outlined all the changes I had made. I also pitched the new book I was working on. (which again, is a no-no!) Lucky for me, they'd forgotten the "rules." Within a couple days, they all e-mailed me requesting not only my revised book, but also the first 50 pages of the new book I was working on.

Within a few weeks, I got an e-mail from the agent "who might review my book again," saying she wanted to speak with me on the phone. That sent off a series of crazy events. She scheduled a call and offered me representation. I loved her and almost accepted her offer straight out but a writer friend told me to let the other agents know first. So I did. Then I got a barrage of emails requesting to speak with me on the phone! I ended up interviewing several agents about offers of representation. Somehow, I was suddenly in a position where several agents wanted me! And now, I got to choose. What? That really happens?

A few days later, I chose Alyssa Eisner Henkin from Trident Media Group. Why? Because she had passion for my work. She had a very specific plan for both of the books she read, and we clicked. Being the optimistic pessimist that I am, I needed someone who was positive, and passionate. My tween angel book is just now going out on submission to some key editors. Having Alyssa by my side has been wonderful and worth the long journey. My advice is keep going. One day I was a frustrated writer and the next I woke up to multiple offers of representation. And you know what? When I got up that morning, I had no idea That Day was going to be The Day.

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | How I Got My Agent Columns

Sunday, October 25, 2009 12:58:28 PM (Eastern Standard Time, UTC-05:00)

Comments [8]

The 'Proof of Life' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good—and you will start to get a sense of how they work.

Or—you could just let me do that for you. The first great synopses I showed readers were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Proof of Life, a good example of a thriller/action story. Look at what this synopsis does right. I like how the story starts quickly. Alice is a big character and she is unhappy with her situation. Her husband is kidnapped and the story is in motion. The climax (a battle) is told quickly, and there is no blow-by-blow of the gunshots.

ALICE BOWMAN moves to the (fictional) South American country of Tecala because her husband, PETER, has been hired to build a dam. Though their marriage is strained with yet another move, Alice agrees to again hit the ground running. Mere weeks later, Peter is in the city when a convoy of automobiles - including his - is ambushed by guerilla rebels. Believing that Peter works for an oil company, soldiers abduct him and lead him into the country’s jungles to hold him for ransom.

TERRY THORNE, an ex-Australian Special Air Service Regiment soldier, arrives in Tecala to assist in the situation. Thorne, fresh from a successful hostage rescue near Russia, is an expert in kidnapping-and-ransom cases. He is hired by Peter’s company to bring about Peter’s safe return. Unfortunately, it turns out that Peter’s company actually has no insurance coverage for kidnapping, so they cannot afford Thorne’s services nor pay a ransom. Despite Alice’s pleas to stay, Thorne leaves the country. Alice gets teamed up with a local hostage negotiator, who immediately suggests a questionable money payment. Not knowing what to do, Alice agrees, but the transaction is stopped by Thorne, who, following his conscience, has returned to help. He is aided by DINO, another ex-military man.

Over the next several months, Thorne uses a radio to talk with a guerilla contact, and the two argue over terms for Peter’s release—including a ransom payment that Alice can afford. With much downtime between conversations, Thorne and Alice bond, and an attraction between the two grows. Thorne's cold exterior begins to melt, and Dino warns him that the budding relationship can have no happy ending.

Meanwhile, Peter is led through the jungle by a group of younger rebels before arriving at the main camp. There, he meets another hostage: KESSLER, a missionary and former member of the French Foreign Legion who’s lived in the camp for nineteen months. The two immediately conspire to escape.

After much negotiation, the guerillas agrees to release Peter for a sum of $650,000. But before the deal goes through, Peter and Kessler make a run for it into the jungle. Kessler falls into a river and evades the rebels, but Peter steps on a trap and is recaptured. Kessler is found and hospitalized. In the hospital, he meets Alice and, having heard a gunshot, confesses to Alice that her husband is dead. Thorne refuses to believe this, but is unable to contact his negotiator. Acting on a tip, Thorne visits a high-ranking Tecala government official, who turns out to be the contact he was communicating with this whole time. The contact confirms that Peter is indeed alive, but has seen secret rebel maps and will likely soon be killed.

Thorne, Dino, and several associates decide to risk a rescue. Before leaving, Thorne shares tender words and a kiss with Alice. In the jungle, Thorne and his men travel by helicopter and attack the ELT base. They free not only Peter, but other hostages held there as well. Peter returns to Alice, emaciated but alive. Thorne and Alice have a final moment together before Alice thanks him and leaves to be with her husband. Thorne watches her leave, and talks with Dino about what might lie in store for them next.

Want more on this topic?

How to Write a Novel Synopsis.

Buy the book Give 'Em What They Want.

Read the Starman synopsis - a great example of a summary.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Synopsis Writing

Sunday, October 25, 2009 12:30:21 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Saturday, October 24, 2009

Cover Band Soap Opera: We Need a New Song - You Choose!
Posted by Chuck

It's that time again - time to pick some new songs for my cover band to learn. That said, I need some guidance in making my next pick. Below you will find four "finalists" for our next song to learn. I need an informal vote on which one to choose, and YOU are the voters.

Remember that there are four criteria upon which to judge these songs:

      1. Awesomeness. Is it awesome? How awesome?
      2. Danceability. This is key. Songs have to get the ladies dancing. If the ladies do not dance, then the men do not dance, and hence we do not have a dance floor. Bar managers = miffed.
      3. Widespread Appeal. Will the song push some people off the dance floor? Do younger peeps in their 20s even know Eddie Money songs?
      4. Chuck Looking Cool Playing Guitar. You must weigh the first three against if there are cool guitar riffs and licks that I can wail on. I'm talking guitar riffs that go SCREE-DIDDLEY-DEE and then I shoot the audience a "Can you dig it?" look.

THE FINALISTS:

1. "Take Me Home Tonight," by Eddie Money
2. "Hey Jealousy," by The Gin Blossoms
3. "Crazy Game of Poker," by OAR
4. "A medley of Rolling Stones songs - snippets of "Start Me Up," "Jumpin' Jack Flash," "Satisfaction," and "Paint it Black."

What song should I pick? Leave a comment (and, if you like, make a case).

Cover Band Venting

Saturday, October 24, 2009 4:22:27 PM (Eastern Daylight Time, UTC-04:00)

Comments [9]

Friday, October 23, 2009

Agent Advice: Amy Tipton of Signature Literary
Posted by Chuck

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Amy Tipton of Signature Literary. Formerly, Amy was with FinePrint Literary Management.

She is seeking: Amy is looking for both fiction and nonfiction–edgy or quirky, commercial or literary–in particular, she is interested in YA, middle grade, and women’s fiction. In nonfiction she is looking for women’s studies/academia, fashion/beauty, and pop culture.

GLA: How did you become an agent?

AT: Peter Rubie. He encouraged me to take on clients when I was just an assistant. I was terrified! I had no idea I would love it so much.

GLA: What's the most recent thing you've sold?

AT: Janet Reid sold The Near Witch by Victoria Schwab to Hyperion/Disney on my behalf at FinePrint Literary Management. I’ve sold YAs to Saint Martin’s Press and Simon Pulse.

GLA: I read online that you're looking for gritty urban fiction. This still true? If so, can you give readers a few examples of books you love so they can get a feel for what to send you?

AT: Yes, but I don't want authors to think I'm talking about crime novels or hard boiled mysteries, neither of which I represent - so I don’t say I’m looking for “gritty urban fiction” anymore. All I meant by “gritty” was real, dirty, heartbreaking. I love authors like Michelle Tea and Eileen Myles because they expose themselves.

GLA: What nonfiction subjects do you take on?

AT: I do very little nonfiction. I like academia/feminist work. I also like beauty/fashion projects. I’m doing a retro-fashion/beauty guide right now.

GLA: What are you looking for and not getting? What do you pray for when tackling the slush pile?

AT: Something I can’t live without! Be it a YA, MG, adult fiction or nonfiction. I have eclectic taste so it’s not something easily pinpointed.

GLA: Let's talk children's for a moment. I believe you handle both YA and MG. What can you tell us about your love for these categories? For example, are you looking for boy books? Paranormal but sick of the vampire craze?

AT: Yes, I handle both YA and MG—and I love them! I really believe that Flux statement, “YA is a point of view, not a reading level.” I think the line between YA and adult has become transparent. I think MG is a little easier to distinguish. The language is simpler but you have to be careful with MG—you wonder if it’s just dumb (because you’re not used to reading at that level) or if it’s MG. Everyone wants a good boy-book! I would like a good boy MG, though I’m very girl-centric when it comes to YA. But in both categories, I’m big on reality-based stuff. No vampires here! Please ….

GLA: If I asked you for your top 3 tips on writing for kids, you would say ______ ?

AT: Don’t treat them like they're stupid, Use their language, Make it believable (like, if you’re writing fantasy, go all out—suck those kids in).

GLA: Will you be at any upcoming writers' conferences where people can meet/pitch you?

AT: No. I don’t have any upcoming conferences. But my colleagues do!

GLA: How do you like to be contacted by writers seeking representation?

AT: I prefer e-mail queries: amy@signaturelit.com.

GLA: What's something writers would be surprised to learn about you personally?

AT: I just had a stroke (this year) and I’m still working … I think that says something about my love of books, my authors, and the dedication I have to this industry!

GLA: Best piece(s) of advice we haven't covered?

AT: Do your homework! Research agents before submitting to them.

Want more on this topic?

Interview with Signature agent Gary Heidt.

Interview with Signature agent Ellen Pepus.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Children's Writing

Friday, October 23, 2009 8:42:07 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Does 'Commercial' Mean All Genres?
Posted by Chuck

Q. If an agent lists "commercial" as what he handles, can I assume that would cover all fiction genres?

A. “Commercial” means “genre fiction,” so your assumption is a good one, but I would look through some guides and sites (and look at sales on Publishers Marketplace) to see if this agent handles ALL the genres – because there are eight of them: mystery, suspense, thriller, romance, sci-fi, fantasy, horror, and western. Hardly any agents handle, and sell, all these genres. And keep in mind that if an agent says they handle commercial, that does not include some fiction categories, such as literary, Christian or children's.

Check out Leigh Michaels's
On Writing Romance

Want more on this topic?

Online course: Essentials of Romance Writing.

Online course: Essentials of Mystery Writing.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Definitions | Genre Writing | Questions Submitted by Readers

Friday, October 23, 2009 8:33:38 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Thursday, October 22, 2009

New Agent Alert: George Bick of the Doug Grad Literary Agency
Posted by Chuck

Reminder: Newer agents are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

About George: Prior to joining the Doug Grad Literary Agency as an associate agent, George was a sales and marketing veteran of over twenty years at Warner Books, Random House, Simon & Schuster, and HarperCollins. (Previously, I blogged about the opening of the DGLA. See that post here.)

Seeking: Bick is actively looking for narrative nonfiction, business, science fiction, horror/paranormal, thrillers, military, comics and graphic novels, diet/self-help, memoir, pets/animals, romance, science, humor, pop culture, and travel.

How to submit: "Query by email letter first at query@dgliterary.com. Please do not send more than a brief letter explaining your book--no sample material unless requested. And your patience is greatly appreciated. The agency is receiving over 100 queries a week and our time is limited--our first priority is to our clients and their books."

Want more on this topic?

For other posts about graphic novels, click here.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, October 22, 2009 12:43:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Wednesday, October 21, 2009

Agent Advice: Dorian Karchmar of WME (William Morris Endeavor) Entertainment
Posted by Chuck

Agent Interview by

contributor Ricki Schultz.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Agent Advice: Dorian Karchmar of WME (William Morris Endeavor) Entertainment. Dorian has been a literary agent for over a decade.

She is looking for: "She represents bestselling and award winning literary and quality mainstream fiction and narrative nonfiction (memoir, biography, history), cookbooks and general upmarket nonfiction."

GLA: How did you become an agent?

DK: I started agenting in 1999 when I came back to New York after completing my MFA in nonfiction at the University of Iowa.

GLA: What's the most recent thing you've sold?

DK: Russian Winter, a debut historical novel by Daphne Kalotay, to HarperCollins; subsequently, we have sold it in 14 countries.

GLA: What are you looking for right now and not getting? What do you pray
for when tackling the slush pile?

DK: More phenomenal historical fiction—I get a lot in, but not a lot that’s as good as it needs to be—that, and a beautifully-written, very scary ghost story for grown-ups.

GLA: Can you tell us a little bit more about the kinds of short story projects you seek?

DK: I am not actively seeking short stories, as collections are nearly impossible to sell. The culture has moved away from stories to the point where they are nearly an endangered species from a financial perspective. That said, I do still take occasional leaps with collections, in which case I tend to be drawn to linked collections and collections that illuminate a place or culture that is unexpected or in some way deeply unfamiliar. (I would love to find something set in North Korea, written by an “insider.”)

GLA: I read online that you seek "offbeat/quirky" fiction. Can you give us 2-3 examples of books you've repped that fall into this category so that writers can get a better sense of what you mean here?

DK: That definition of what I’m looking for has probably caused me more trouble than almost anything else I’ve put out there, so I’m happy to have the opportunity to clarify. I love to be transported when I read, and what I’m seeking are stories and voices that I don’t feel I’ve read before. I’m not looking for the deliberately experimental, nor am I looking for much in the way of overtly comic novels (though I do love to laugh, I like the laughter to be only one part of what a book makes me feel—I’m not a big fan of satire, per se).
        I represented an extraordinary memoir last year called The House at Sugar Beach by New York Times reporter Helene Cooper, which was a New York Times bestseller. It’s the story of her growing up in Liberia and of her return there as an adult to try to find the foster sister she left behind when Helene’s family—a political royalty—was forced to flee the country in the way of the coup in 1980 when Helene was 13. That’s a story unlike any I had read before—something only this author could have written—and it completely transported me both emotionally and intellectually, to places I had never imagined. To me, that is very exciting.
        Last year, HarperCollins published a debut novel I represented called The Seamstress by Frances De Pontes Peebles, a young Brazilian-American writer. It is an epic set in Brazil in the 1930s, telling the story of two poor sisters who are separated as teenagers: one is kidnapped by a group of roving bandits and goes on to become their eventual leader; the other sister marries into a political dynasty in the capital of Recife. It’s a sprawling, deeply colorful story, and it felt both beautifully old-fashioned and refreshingly original to me in its settings and the intertwining of the political, the natural world, and the emotional pull between these sisters who are separated for over a decade. This wasn’t a book you would look at and necessarily think of as “quirky,” but, again, it could not have been written by anyone other than Frances, and I think it was an absolute triumph of historical fiction that used impeccable research without ever falling prey to it.

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly grab you?

DK: I seek out assured and elegant voices—I’m a stickler for clean writing, which doesn’t mean it has to be spare, but I want writers who have made the tough decisions about what to include and what to exclude on a word level, line level, and plot level.
        I have lately been drawn to historical fiction and to fiction that has some sort of fabulous element to it—again, I’m dying for a ghost story: I’d like to be spooked out! I’m always interested in books that bring together unlikely people or pairings: something told from a unique point of view that we don’t often get to inhabit (an animal; someone with an strange and interesting job)—that’s back to the “offbeat” thing for me. I’d like to read about a Chinese washerwoman on a British naval vessel during WWI; an old gardener in the 18th century who takes it upon himself to redesign all the Queen’s gardens at some far-flung castle in France that the Queen never visits, etc.

GLA: You also rep some nonfiction areas. If you met a writer and suggested that he build his platform, only for him to ask "How do I do that?" - what would you say?

DK: Social networking via the Internet; lectures and other public appearances; building alliances with other professionals working in whatever his/her field of expertise may be.
The reality is that certain kinds of nonfiction—especially practical, advice, business, etc.—are only going to sell meaningfully if the author is already very established in his/her field and has a media presence—TV show, radio show, etc.—or a huge presence on the lecture/personal appearances circuit.

GLA: How do you prefer to be contacted by writers seeking representation? Do you want a synopsis and sample chapters right away?

DK: E-mail queries are fine. A simple, straight forward query letter laying out meaningful writing/biographical background and what the book is.

GLA: What is the number one mistake you see in queries?

DK: People querying too early—before their writing and their book has matured to the point it needs to be. Finding an agent should be the last step, not the first. If the book is truly wonderful and fully-baked, the author will be able to find an effective advocate for it. Most people querying are doing so well before their work can stand up to honest scrutiny.

GLA: Best way for people to contact you?

DK: Send a query to dkar(at)wmeentertainment.com

GLA: Best piece(s) of advice we haven't talked about yet?

DK: Don’t give in to internal and external pressures to try to find an agent before you’ve matured as a writer. The book business is very difficult and not getting any easier; most books that are published don’t sell well, and many careers end practically before they start.
        Write a book that only you could write, and rewrite, rewrite, rewrite.
        Be more patient and more honest with yourself than you ever thought you could be.
        Find a couple of writers who you think are better than you are, ingratiate yourself with them, and start reading and workshopping each other. And ask them—beg them—to be merciless. Be humble and quiet while they give you feedback.
        Be prepared to cut, delete, throw away, put in a drawer.
        Only when you’ve got your best possible work—something that can stand up there with the best of whatever genre you’re working in—should you start looking for the right agent to represent you. If you’ve got a terrific book, you should end up with plenty of good agents from which to choose, so don’t jump at the first person who says “yes.”
        Put the good of the work before the good of your ego as much as you can.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Literary Fiction | Memoir | Platform

Wednesday, October 21, 2009 1:40:52 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Tuesday, October 20, 2009

Successful Queries: Agent Greg Daniel and 'Peaches & Daddy'
Posted by Chuck

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 17th installment in this series is with agent Greg Daniel (Daniel Literary) and his author, Michael M. Greenburg, for his book, Peaches & Daddy: A Story of the Roaring 20s, the Birth of Tabloid Media & Courtship That Captured the Heart and Imagination of the American Public.

Dear Mr. Daniel

On the evening of March 5, 1926, 51-year-old Manhattan millionaire Edward “Daddy” Browning waltzed through the doors of the legendary Hotel McAlpin and into the life of a 15-year-old high school girl named Frances “Peaches” Heenan. Thirty-seven days later, with the Society for the Prevention of Cruelty to Children in close pursuit, they were married.

Within 10 months, they would begin a courtroom drama that would capture the imagination of the American public and cast their impassioned saga into a national scandal.

Peaches & Daddy: A Story of the Roaring 20s, the Birth of Tabloid Media & Courtship That Captured the Heart and Imagination of the American Public is a work of narrative nonfiction set in America’s “Era of Wonderful Nonsense,” and is a chronicle of the odd romance, marriage and ultimate legal battles waged by this publicity-craving Manhattan couple. It is the improbable yet compelling story of two social and cultural opposites who, together, would become one of the nation’s celebrated icons of the early 20th century.

The shattered romance of Peaches and Daddy would find its breathtaking climax in a small-town courtroom packed to suffocation and stalked through the crosshairs of an expectant world. For five breathless days, hundreds of clamoring newspaper reporters and a wide-eyed public heard Peaches make allegations of "depraved tastes" and "abnormal activity," and they heard an indignant denial of it all from "Daddy." The bellowing press coverage and the ramifications of the final verdict would reverberate through the American conscience for years to come.

I believe this book to be of broad public appeal in that it combines the scintillating fervor of scandal with the true-to-life detachment of history. Our readership will range from those with a whimsical or tabloid interest, to those desiring a more historical or biographical study.

As a practicing attorney and as a past editor of the Pepperdine Law Review, I believe that I bring a unique perspective, via 22 years at my craft, to the true story of Peaches & Daddy and to the myriad of legal issues involved in their drama.

I would be pleased to forward a full proposal and sample chapters upon your request. Thank you.

Sincerely,
Michael M. Greenburg

Commentary from Greg:

Michael's query letter is a perfect example of a writer saying no more and no less than need be. He obviously put a lot of work into not only writing this letter but editing it, as well. Most authors seem to forget that their query letters should be crafted and edited as painstakingly as their manuscripts. By the end of the first paragraph of Michael's letter, I was hooked and knew I wanted to read this narrative history.

For nonfiction, it's also important that an author have sufficient credentials for the book he is writing. And while Michael is not a professional historian, he is a lawyer with a love of history - and much of the intrigue of the Peaches and Daddy story resides in the courtroom drama that unfolds in the last half of the book. I signed Michael as a client, and Overlook Press bought this book with a preemptive offer and published it in 2008 to glowing reviews.

This post about agents was
pulled from the current issue of Writer's
Digest (Sept. 2009) Order it online
to see more queries as well as our exclusive
list of 24 Agents Who Want Your Work.

Want more on this subject?

Successful Queries: (Fiction) "Hotel on the Corner of Bitter and Sweet"

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Narrative Nonfiction | Successful Queries

Tuesday, October 20, 2009 3:55:03 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Monday, October 19, 2009

How I Got My Agent: Adrienne Kress
Posted by Chuck

This installment of "How I Got
My Agent" is by Adrienne Kress, a
writer and actress. She writes books
for children and has a super-cool
website. Click here to learn more
about her book, Timothy and the Dragon's Gate.

LONDON

I started writing my novel as an unemployed actress working as a temp in London, UK. When you’re stuck in front of computers all day long with not that much work to do, writing a novel seems logical. As I kept writing, and realized I was really getting somewhere, I wondered if I should try to see how one gets published. I figured it couldn’t be any harder than acting, and, heck, I was already used to rejection.

I purchased The Writers’ and Artists’ Yearbook, and, sure enough, the book said I needed an agent (as one does for acting). In the UK, they don’t want just the standard North American “query letter,” but also a synopsis and first three chapters. I thought this was awesome. When you contact an acting agent, all you send are your picture and résumé, not a sample of your talent. Writing something and sending it to a literary agent was a demonstration of what you could do. And no one was judging me on superficialities like appearance. Huzzah!

HELLO, MISTAKES

I perfected my query and submission package with the help of my parents (former high school English teachers) and sent it out to 14 agents by snail mail. I’d read that it took a while for agents to get back to you. Since I’m the kind of person who works best on a deadline and I’d come to a point in my novel where I just couldn’t finish (probably had around 20,000 words left to write), I figured knowing that I had 4 to 6 weeks to finish the manuscript would help me get it done.

Now this is how amazingly fast snail mail is in the UK. The next day, the phone rings, and it’s Julia Churchill from the Darley Anderson Agency asking for the entire manuscript. Well, what’s a girl to do? First, she panics. Next, she calls her parents in Canada. Then all three come up with a plan: Finish the book in the next three days so I can print off the whole thing at one of those printing places on Friday (it was closed weekends.) So I do. Then I place the manuscript on my fireplace mantle. And stare at it. Until Monday.

Then I walk the manuscript over to the agency. Since the agency was in my neighborhood, I thought it made sense. After all, hand-delivery would save me money, and I could guarantee that it got to its location. Little did I know that this was a no-no, that one simply does not go in person to an agency without being a client or being asked. I knock on the door. A confused girl answers it. I pass her the manuscript, all smiles, turn around and leave. It’s only when I get home I think maybe I should do some research on the agency. That’s when I learn that the Darley Anderson Agency is one of the top agencies in the UK. And I panic. Again. For two months.

And then I make yet another mistake: I decide to follow up. So I call. I didn’t know the general rule of thumb: Don’t call an agent if you aren’t a client or haven’t been asked to. But I call Julia, and she says she’ll get back to me later. She does. She loves the work, but wants me to cut it by 10,000 words and shorten the chapters. Sure. No problem. Gulp. I take two painful weeks and do it. Once more, I walk the manuscript over. This time in the pouring rain. That same girl opens the door. Soaking wet, I pass her my manuscript protected in several plastic bags.

SUCCESS & A PUB

Julia calls on the Friday. Awesome. She asks to meet me Saturday at a pub. We hang out for five hours. She tells me a few more edits she wants from me, but doesn’t offer representation, and we move on to just chatting. Finally I ask her, “If I do these edits and stuff, um ... what happens next?”

“I’d like to represent you.”

“Oh, good.” All smiles. In a moment, my life has changed. So many thoughts running through my mind. Must call parents who can’t understand why they still haven’t heard from me since the meeting was scheduled for 6 and it’s now 11. Julia’s all smiles, too. She says, “I always wait to see how long it takes the author to ask that question.” Oh those agents and their wacky sense of humor.

Buy Timothy and the Dragon's Gate!

Want more on this topic?

How I Got My Agent: Kate Douglas.

How I Got My Agent: Robert Hicks.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | How I Got My Agent Columns

Monday, October 19, 2009 10:29:27 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Sunday, October 18, 2009

New Agent Alert: Gwendolyn Heasley of Artists and Artisans Inc.
Posted by Chuck

About Gwendolyn: Gwendolyn Heasley is the author of the upcoming YA novel, Confessions of a Teenage Recessionista, which will be published by HarperCollins. She earned her B.A. from Davidson College in North Carolina, and her Master’s degree in Journalism from University of Missouri-Columbia where she wrote her thesis on why women read Us Weekly. In the past, she has sold greeting cards and taught creative writing to young adults.
She joins the two current agents at Artists & Artisans: Adam Chromy and Jamie Brenner.

Seeking: She’s actively seeking authors of Young Adult manuscripts of all genres, specifically manuscripts that have a sharp voice and vivid settings.

How to submit: "Send the first 10 pages in the body of an email along with the query. In order to minimize our impact on the environment, we strongly encourage authors to query via e-mail instead of snail mail (please start the subject line with "Query"). Please know that we usually do not respond when we are not interested - no response should be a clear enough indication. So save paper and postage - do not send queries with SASE because we will not return them. All fiction queries must include a brief author's bio, and the setup or premise for the book. No unsolicited manuscripts will be accepted. Gwendolyn Heasley gwen@artistsandartisans.com."

Want more on this topic?

New agent seeking kids stuff: Teresa Kietlinski of Prospect Agency.

New agent seeking kids stuff: Beth Fleisher of Barry Goldblatt Literary.

New agent seeking kids stuff: Adriana Dominguez of Full Circle Literary.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | New Agency Alerts

Sunday, October 18, 2009 7:52:51 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

The Essential Parts of a Novel Synopsis
Posted by Chuck

1. The Opening Hook

You must start strong with the novel synopsis. Agents and editors want to be engaged when they're up at night, plowing through submissions. If they don't like the opening, they won't get through the rest of it. Here is an example of an intriguing synopsis opening, from Monster by John Tigges:

"MAL and JONNA EVANS, in an effort to save their marriage, which has been been jeopardized by Jonna's extramarital affair, go backpacking near Garibaldi Provincial Park, British Columbia. On their first night, while preparing their evening meal, a Sasquatch barges into their camp and grabs Jonna."

These tips excerpted from Give 'Em What They Want, a book
by Blythe Camenson and Marshall J. Cook. The book is a great
resource for information on query writing, synopsis writing, and
outline writing. It's all about "the right way to pitch you novel
to editors and agents." Buy it here.

2. Character Sketches

You need to provide a sense of your main characters' motivations, especially those that will bring the characters into conflict with one another. "The characters' physical descriptions are not vital, but their motivations are," Marilyn Campbell says. Here is a part of the synopsis for Broken Connections, which earned the author a television movie option with this quick sketch of her heroine's backstory:

"Twenty-six-year-old JULIE HAMPTON, author of several gardening books, has returned to her native Boston from California after separating from her philandering husband, JOEL GREGG. Julie had fled to California seven years earlier to attend UC Berkeley and to put as much distance as she could between herself and her mother."

3. Plot Highlights

"Detail the beginning and ending scenes and one or two in the middle that give an indication of the kind of emotional intensity or type of action to be expected," Campbell says. So what constitutes a major scene worth noting? Consider: 1) Do I need this scene to make the primary plot hang together? 2) Do I need this scene for the ending to make sense? Your synopsis should reveal how much and what kind of trouble your poor protagonist is going to encounter.

4. Core Confict

If your conflict isn't implicit in your first few sentences (a "hook"), spell it out. Your core conflict may, of course, overlap categories and could even touch on multiple types of conflict. Consider this:

"Tortured by grief and loss (person vs. self) and fleeing a wrong conviction for a crime he didn't commit (person vs. society), DR. RICHARD KIMBALL struggles to survive (person vs. nature) while fleeing the relentless lawman who pursues him (person vs. person).

5. The Conclusion

Don't close with a cliffhanger. Revealing the ending to your novel won't spoil the story for the editor or agent. It will show that you've successfully finished your novel. "Make sure every loose thread is tied up and never leave an editor guessing about anything," Campbell says. If your novel is one of a series, your ending can point to the sequel.

Want more on this topic?

How to Write a Novel Synopsis.

Buy the book Give 'Em What They Want.

Read the Starman synopsis - a great example of a summary.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Excerpts | Synopsis Writing

Sunday, October 18, 2009 7:20:50 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Saturday, October 17, 2009

Cover Band Soap Opera: Def Leppard's 'Pour Some Sugar on Me'
Posted by Chuck

Well, no more of that. This is my band playing "Pour Some Sugar on Me" by Def Lep at a recent summer show. That's me playing guitar on the right.

Cover Band Venting

Saturday, October 17, 2009 6:31:12 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Friday, October 16, 2009

Agent Advice: Byrd Leavell of Waxman Literary Agency
Posted by Chuck

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Byrd Leavell of Waxman Literary Agency. Byrd began his career at Carlisle & Company and then served as an agent at InkWell Management and Venture Literary. Byrd says: "As a literary agent I believe in representing works that carve out new territory and authors who are committed to creating books that succeed in the marketplace. I specialize in working with authors who have established a following on the Internet, athletes, celebrities, journalists, and first-time writers who are bound for glory. I love narrative nonfiction that pushes the envelope and finds new audiences, talented fiction that is a blast to read, and anything written by a motivated, confident, unapologetic author with a story to tell."

He is looking for: General fiction, Mystery, Reference, Biography, Business/investing/finance, History, Health, Travel, Sports, Horror, Humor, Memoir, Pop-culture.

GLA: How did you become an agent?

BL: I graduated from UVA, attended The Radcliffe Publishing course in Boston, caught a ride to New York, and then landed a job as Michael Carlisle’s assistant. I worked at Carlisle & Company for the next four years and made the jump to handling my own clients during that period.

GLA: What’s the most recent thing you’ve sold?

BL: I just sold a hilarious book by Justin Halpern, the writer behind Shit My Dad Says (on Twitter), to Kate Hamill at IT books. Mark my words, it is going to be on bestseller lists next Father’s day.

GLA: From what I can gather, you are pretty open as to what you accept concerning nonfiction, and there are even some novels in your repertoire. Can you help readers better understand what you are looking for in fiction vs. categories you don’t represent?

BL: With fiction, I don’t want to rule anything out; if it’s good, it’s good, but I tend to gravitate toward the end of the spectrum where smart and commercial overlap. I only sign a couple novels a year, and it’s always because something leapt out of my inbox to the point that I couldn’t stop reading it.

GLA: You look for authors who have used the Internet to creative a unique and wide platform. Can you give us some examples of how clients have done this prior to you signing them. This may help writers understand how to cultivate a fan base before approaching an agent.

BL: I do indeed. Tucker Max (I Hope They Serve Beer in Hell) was one of the first clients I signed, and as I pitched his book to publishers, he had X amount of visitors each month - a huge fan base, etc. I realized I had hit on a formula that I completely identified with and believed in.
        Since I’ve been in the industry, publishing has gone through a couple different stages as it has tried to figure out what can make the jump from the web to the bookshelves. For a while, if you had a great blog, you could land a deal. Traffic was maybe mentioned in the third paragraph of the Author Bio section. And then none of those worked. Then for a while, if you had some insane amount of traffic and a big web presence, you could land a deal. But none of those really worked either (Fark, Perez, others). Now, editors seemed to be focused on Twitter, and after that, it will be the next thing. How many people hang out with your 3-D image at their house, etc.
        The key is this: You have to have lots of fans who will actually want to buy your book, and then you have to write a book that can succeed on its own in the marketplace, without any support from those fans whatsoever. Look at Clay Travis. He has a great web presence, but the guy writes terrific books about SEC football that sell to a very receptive audience. Other authors in his position usually make the mistake of trying to do sports humor books that they think their online readership will buy, and none of them sell more than 8,000 copies.

GLA: Speaking of Tucker Max, that book is approaching one million sales and the movie is coming out – congrats. You represent memoirs. A lot of people like to write memoirs or vignettes about their own life, but most don’t get sold let alone sell a million copies. What can people learn from Tucker’s writing and his success?

BL: That Tucker is a force of nature, knew that his book was going to be huge when I first spoke to him while he was sleeping on a friend’s couch, and the level of success of IHTSBIH is a reflection of this more than anything else.
      Tucker’s book also worked because it was the first to appeal to an audience that publishing had decided would never buy books and because he is a great storyteller. No one ever gives him any credit for this, but it is the main reason his book has stayed on the list for the last two years and will hit the #1 spot for the first time next week. If you want to write a memoir, you need to create something that appeals to an audience and not just your own need to write about yourself. (For the record, if you are reading this, don’t start your query with “I am the next Tucker Max.” I will just delete it.)

GLA: I see several sports books on your list – one from a journalist, two others by sports celebrities. Are you looking for more sports submissions by journalists? Something specific perhaps?

BL: We represent some of the best sports writers in the business and are always looking for submissions from journalists.

GLA: Most common problems you see in a query letter?

BL: A general lack of professionalism. That and writing three paragraphs about the plot.

GLA: What are you praying for when you tackle the slush pile? Specifically, what are you looking for that no one seems to send?

BL: Good question. Most of my clients are actually people I have tracked down on my own. The one thing I never see, that I would love to find, is an author that has sold a large number of their self-published book, (think above 30,000) completely on their own. (I represent Once a Runner, and by the time I reached out to the author he had single-handedly sold more than 100,000 copies.)

GLA: When you get a narrative nonfiction submission, do you want to see a proposal? The whole ms?

BL: I usually just want the first couple pages pasted below the query.

GLA: Will you be at any upcoming conferences where writers can meet/pitch you?

BL: I’ll be on a panel at the Digital Book World Conference called “The New Farm System: Scouting Blogs and Self-Publishers for Commercial Books.” The event is Jan. 26-27, 2010, in NYC.

GLA: What’s something writers would be surprised to learn about you personally?

BL: Pass.

GLA: Best piece(s) of advice we haven’t discussed?

BL: Read more books. And the novel you are sending out isn’t ready yet.

Want more on this subject?

Agent interview: Jim McCarthy of Dystel & Goderich.

Agent interview: Sha-Shana Crichton of Crichton & Associates.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Memoir | Narrative Nonfiction | Platform

Friday, October 16, 2009 11:06:08 AM (Eastern Daylight Time, UTC-04:00)

Comments [2]

The 'Peggy Sue Got Married' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will start to get a sense of how they work.

Or - you could just let me do that for you. The first great synopsis I showed readers was Starman (see that one here). This time it's Peggy Sue Got Married, a good example of a humorous women's fiction story. Look at what this synopsis does right. Peggy Sue is quickly introduced and we see her issues. By the end of the first paragraph the whole story is motion. Since the story is filled with laughs, the synopsis tries to get several of them across. Also, in this story, there are plenty of characters, but a synopsis can get bogged down with characters being introduced, so see how the names of her classmate friends and even her sister are not mentioned here. Their individual names do not matter, so the synopsis keeps moving.

Peggy Sue Got Married

In 1985, PEGGY SUE BODELL sets off for her 25-year high school reunion, albeit hesitantly, with her daughter coming along as company. Peggy Sue has just separated from her former high school sweetheart, now husband, CHARLIE, and is wary of attending the reunion because of everyone questioning her about his absence. (They have been married since she became pregnant at the end of high school.) Peggy Sue arrives at the reunion, happily reconnecting with old friends and commenting on high school memories and how times/classmates have changed. Charlie unexpectedly arrives, causing an awkward scene. The awkwardness is ended when the event MC announces the reunion’s "king and queen." The king is RICHARD NORVIK, a former class geek turned multi-millionaire computer whiz. Peggy Sue is named the queen; but upon arriving at the stage, she faints.

When Peggy Sue awakens, she finds herself in the spring of 1960, her senior year of high school, having apparently passed out after donating blood. Peggy at first believes she died, but then comes to accept that she has somehow gone back in time. She’s in shock to see old family members so young and to talk to relatives who have since died. She attends high school classes and meets with old (now-young) friends, though she now answers questions strangely. For example, when her mother asks if she and Charlie had a fight, she replies yes—but about "house payments." She also briefly considers a get-rich-quick reference of going to England to discover The Beatles.

Peggy Sue is confused by this new/old world, but she’s fascinated to get to live high school all over again and say things she always wanted to say, such as telling off rude classmates and informing a math teacher she knows—for a fact—that she will never need algebra in her life. She also uses this opportunity to repair an estranged relationship with her younger sister. One thing Peggy Sue is not happy about is that she’s still dating Charlie. She promptly breaks up with him and has a one-night stand with MICHAEL FITZSIMMONS, the "one guy in school she always wished she’d slept with."

But Peggy Sue soon sees that this Charlie (at 18 years) is not the same as the adulterous Charlie she left in 1985—and she starts to fall in love with him all over again, though the relationship still has its problems. Meanwhile, she contacts the young (ever geeky) Richard Norvik and asks for his advice on time travel and getting "home." Her inquiries into time travel lead to her GRANDFATHER, who agrees to try a strange séance ritual with buddies to send her forward in time.

During the séance, Peggy is kidnapped by Charlie, while all Grandfather's buddies think the time travel worked. Charlie takes her to a greenhouse and tells Peggy Sue that he loves her then gives her the locket she will wear to the reunion. After she resists him ("I'm not stupid enough to marry you twice"), she realizes she cannot cheat fate. She kisses Charlie and they make love, which would again lead to Peggy Sue getting pregnant and marrying him. In the next moment, Peggy Sue is revived at the reunion back in 1985. She's taken to a hospital and meets "old" Charlie, who seems shaken by the whole event and deeply regretful of his recent ways. She looks at him with new eyes and it seems there's hope for them possibly reconciling their differences. However, the idea that she may have dreamed the entire ordeal is unclear when her daughter mentions that Michael Fitzsimmons has dedicated a book to her and their night together.

Want more on this subject?

Read another great synopsis: Starman.

How to write a novel synopsis.

One story? You need 5 versions.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Synopsis Writing | Women's Fiction

Friday, October 16, 2009 10:50:19 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Thursday, October 15, 2009

They're Called GOOGLE ALERTS, and Yes We Have Them
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

------

If you've never heard of Google Alerts, they're just about the best thing ever. You tell Google a word or phrase, and Google will alert you daily when that phrase is used on the Internet. For example, whenever someone writes the words "Chuck Sambuchino" on a page or blog, Google will tell me.

Agents have these, too, so when you're praising an agent online, or badmouthing them, or simply discussing them - an agent may very well know. Check out this story from Jenn Nixon, a blogger and agent-seeking writer:

"Well, the weirdest thing happened to me yesterday.

I logged onto my website email account, which I hardly use because it's ALL spam. There was one email in it. A real one. So I read it. It was from a literary agent. Apparently her google alerts told her I wrote her name down. She read my blog about agents who didn't respond, and asked me to resubmit.

Shocked?

Yeah, so was I. She actually took the time to write me so I'd take her off my list! Wow. Okay, so I sent her the submission again.

She didn't like it so much.

But she did say "You've got skill, I'll give you that."

I've heard that so many times before. *sigh*

I took her name off, I'll add her to the rejection list. Ah well. It's still an interesting story, huh?"

Crazy story. So the agent found her and asked her to resubmit the work for a yes/no answer. Ultimately, this paid off for Jen - and gave her a second chance (although that second chance didn't pan out).

Let this be your warning: Google Alerts exist, so be careful what you're saying on the Internet. You never know who's listening.

Want more on this subject?

Facebook, Twitter and Agents.

One story? You need 5 versions.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns

Thursday, October 15, 2009 1:39:09 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Wednesday, October 14, 2009

Wanted: Agent for a Multicultural Picture Book
Posted by Chuck

Q. I am the author of several children's books and am currently in need of an agent who is well-established and has a great deal of experience in representing a variety of authors. My children's book is however primarily geared towards an African-American audience. I would greatly appreciate it if you could recommend an agent to assist me in this endeavor. I look forward to hearing your favorable response. Thank you for your kind consideration.
- T.D.

A. Hi, T.D. I don't recommend individual agents like you're asking, but for this, first look through agents that handle children’s works – specifically ones that seek picture books because few do. From there, look through their web pages and interviews (etc.) and try to find any agents that specifically say that multicultural or ethnic themes are of interest. Those can be your specific targets if you like. However, all picture book agents would probably be willing to give it a look, though - don't discount them.

Want more on this subject?

Serious about children's writing? Check out two essential resources: 2010 Children's Writer's & Illustrator's Market, and Writing Picture Books.

See more picture book advice in this interview with agent Kelly Sonnack.

Agent Stephen Barbara also reps picture books.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | Questions Submitted by Readers

Wednesday, October 14, 2009 2:12:37 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Winners Announced: The 'Worst Storyline Ever' Contest
Posted by Chuck

Thanks to all who entered the second-ever "Worst Storyline Contest" here on the GLA blog. We got tons of entries! The judging is over and the winning lines are below (as well as some commentary from me). Special thanks to several WD and WD Books staffers who weighed in on the judging, and congrats to all the winners.

"Worst Storyline Ever"

Contest Winners

GRAND-PRIZE WINNER:

"After an unidentified cow swallows an armed nuclear device in a botched Homeland Security raid, Agent Tom Anderson is thrust into an unlikely partnership with buxom organic farmer Daisy Jones to sift through three hundred cows and 10 barns full of manure as the clock runs down in a desperate quest to save Kansas City from a moo-clear disaster."
- Livia Blackburne

Chuck says: Out of all the finalists, this one was the one that got the most praise from judges weighing in. I think everyone just fell in love with the last little joke. Livia wins a query critique from me and some free WD books. Way to go, Livia! (Check out Livia's blog where she combines her love of creative writing and neuroscience.)

TWO RUNNERS UP (in no particular order):

"When a cannibalistic bonsai tree runs rampant at the local Walmart garden center, it's up to pimple-faced stock boy to step in on a quest to save all cheap garden enthusiasts everywhere using way too much Miracle Grow and the magic pruning shears, and maybe score a date with that cute cashier on lane eight."
- Kathryn Martin

"A young woman discovers she is half unicorn after farting a rainbow at her bat mitzvah, and must go on a hijinx-filled voyage of self discovery to find her real father and fit as 'one of the herd.' "
- Rebecca Knight

OTHER FINALISTS (in no particular order)

(No prizes for these, but I had
to include them because they're hilarious)

- "A self-aware taco salad travels through the harsh urban jungles of his hometown, across the oceans of discontent, to the mountains of Tibet on a quest for enlightenment, love, meaning, and a reasonably good-tasting low-fat sour cream substitute."
       - Marie Hix

- "When Sparky the Squirrel wakes up without his nuts, he leaves the safety of his tree and makes the journey back to the scene of the crime, the veterinarian's office, to recover them."
       - Tracy Hamilton

- "True love intrudes on Rodney Staff's assault against the Guinness Book record for vasectomy reversals."
       - Dave Diotalevi

- "Can Joey, who becomes wheelchair bound in a freak car accident involving cotton candy, find lyrics for a country and western song by traveling in his power chair the 486 miles from one side of the state to the other even though he has to stop and recharge his battery every six miles?"
       - L. Ell

- "Leonard the narcoleptic snail sets out on his lifelong dream of running the Boston Marathon while humming 'Macarena,' and invites you to join the excitement in real time."
       - Steve Forti

Congrats again to all the winners!!!

Contests

Wednesday, October 14, 2009 12:13:04 PM (Eastern Daylight Time, UTC-04:00)

Comments [10]

Tuesday, October 13, 2009

Agent Advice: Michelle Humphrey of Sterling Lord Literistic
Posted by Chuck

(Editor's note: As of Fall 2009, Michelle left SLL and joined Martha Kaplan Agency, 115 West 29th Street, New York, NY 10001. Her new e-mail for queries is michelle.c.humphrey@gmail.com.)

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Michelle Humphrey of Martha Kaplan Literary. As an assistant for the Renee Zuckerbrot Agency and then Anderson Literary, she's worked with such authors as Kelly Link, Amy Ryan, Barry Lyga, and Helen Benedict. Prior to agencies, her gigs have included English Teacher, Proofreader, and Freelance Book Reviewer; her reviews have been published in Bitch, Bust, and The Women's Review of Books.

She is looking for: "She is interested in representing writers of young adult fiction (historical, contemporary, literary), middle grade, memoir, women's fiction, and narrative nonfiction (history, psychology, women's studies).

GLA: How did you become an agent?

MH: After working numerous non-fulfilling jobs (I think my low-point was when I was a proofreader for the yellow pages), I took an internship at the Renee Zuckerbrot Literary Agency, and have been working at agencies ever since - for three years.

GLA: What's the most recent thing you've sold?

MH: This month, I've sold a YA novel called Steinbeck, the Scoot and the Pull of Gravity, by Gae Polisner, to Frances Foster at Farrar Straus and Giroux Books for Young Readers.

GLA: You seek awesome YA. What can you tell us about your love for this category?

MH: I'm drawn to teen heroines. It seems like all the great battles happen for them: girl versus family, girl versus boy, girl versus best friend from childhood, girl versus popular crowd, girl versus Evil Creature of the Night. Who can resist?

GLA: You seek not only contemporary and literary YA, but also "historical." Can you give us some examples of historical YA you loved so writers can get a feel for your tastes.

MH: One of my favorite books is The Green Glass Sea by Ellen Klages, which is about the Manhattan project. I love those characters, and I especially love World War II history and 20th-century history in general. If characters are likeable and dimensional, I could get into any kind of historical context, but 20th-century history is probably my favorite.

GLA: Do you also accept middle grade, as well?

MH: Yes I do! I'm open to anything, especially stories that are character-driven.

GLA: Some agents love synopses and some don't. Where do you stand?

MH: I am pro-synopsis - no more than three pages, though. Not a fan of synopses in the query. Query letters should have a teaser for the story (like a blurb on the back of a book), whereas a synopsis should be separate from the query letter.

GLA: When you get a narrative nonfiction submission, do you want a full proposal or the entire book, or a combination thereof?

MH: Full proposal and sample chapter, please.

GLA: Do you find yourself getting proposals for narrative nonfiction that really aren't narrative NF at all, but rather mis-classified?

MH: I don't get many proposals, unfortunately, but I'm always on the lookout for great narrative nonfiction. I do get memoirs in proposal format, and I'm generally not a fan. For memoir, I'd prefer to see the writing - first three chapters, for instance.

GLA: What are the most common and recurring problems you see in chapter 1 of a garden variety fiction partial?

MH: This is an excellent question. The most common problem is that the writing feels a little clichéd (i.e., it's something I've heard before, and it's not particularly vivid). Or, I just don't get a sense of a story happening. Even character-driven stories, I think, need a clue of the drama right from the beginning.

GLA: What's something writers would be surprised to learn about you?

MH: I am obsessed with Red Hot Chili Peppers - band and food.

GLA: Will you be at any upcoming conferences where people can meet and pitch you?

MH: Nothing planned right now. People can query me at michelle.c.humphrey@gmail.com.

GLA: Best piece(s) of advice we haven't covered?

MH: Embrace rejection! Wink at it, laugh, maybe bake a rejection pie. You'll get there -- why not have fun along the way?

Want more on this subject?

Examine great high-concept hooks for kids books.

New agent seeking kids stuff: Adriana Dominguez.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Children's Writing | Memoir | Narrative Nonfiction | Women's Fiction

Tuesday, October 13, 2009 5:56:38 PM (Eastern Daylight Time, UTC-04:00)

Comments [8]

Monday, October 12, 2009

Successful Queries: Agent Elisabeth Weed and 'The Last Will of Moira Leahy'
Posted by Chuck

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 16th installment in this series is with agent Elisabeth Weed (Weed Literary) and her author, Therese Walsh, for her book, The Last Will of Moira Leahy.

Dear Ms. Weed,

Allison Winn Scotch e-mailed me just a bit ago to say you'd be interested in hearing more about my manuscript. I'm thrilled for the opportunity, as Allison raves about you and I believe your agency would be a perfect fit for my work.

Weed Literary is looking for inventive storytelling. The Last Will of Moira Leahy is a 100,000 word commercial rite-of-passage tale about death, identity and acceptance, told through the eyes of twin sisters and woven with a fascinating mythology in the vein of Louise Erdrich's The Painted Drum. You're also seeking provocative fiction with a dash of humor. Though 9 out of 10 women cry when they read this story, they'll also laugh a lot.

Former musical prodigy Maeve Leahy has bound herself to the timeout chair of life. Though a decade has passed since losing her twin, Maeve's nightmares and musical hallucinations persist, and she still sees Moira's face whenever she looks in the mirror. It doesn't help that her mother shuns her, her best friend worries for her sanity, and her not-quite boyfriend leaves the country. When she finds a wavy dagger called a keris one night at auction, she recalls her carefree childhood and playing pirate on the Atlantic with her twin. She wins the blade, and its hidden consequences. Anonymous notes about the keris soon appear, rekindling her adventurous spirit. As she uncovers the blade's secrets, she may learn to embrace music, love and her reflection again, but will she be able to endure the cost?

The Javanese keris is a weapon with a documented history of effect, including the ability to decrease inhibitions, foretell the future, and more. The Last Will of Moira Leahy draws upon this rich lore as the story unfolds, but leaves the reader with the choice-to believe or not in an extraordinary possibility.

I have a master's degree in psychology and am an award-winning researcher. I'm a published nonfiction author with hundreds of articles in America's foremost health magazines and online health sites. I'm also the co-founder of Writer Unboxed, a popular genre fiction site.

I'd love to send you The Last Will of Moira Leahy if you think we'd be a good match. I appreciate your time and look forward to your response.

All best,
Therese Walsh

Commentary from Elisabeth:

Let me start by saying that I've had a good laugh, rereading my original correspondence with Therese Walsh. She sent this query to me on May 22 - fifteen days after my son was born. I requested the first 50 pages a few days later and on June 10th asked her to mail me the entire novel (prior to my kindle purchase.) On June 18, I e-mailed, and I quote, "I am so totally madly in love with your novel!" I am still in shock that Teri decided to sign with ME for not being able to come up with praise that was a little more nuanced, but my point to any writer reading this is that we agents are desperate for quality fiction. We will read it on zero sleep with newborns in tow and send inarticulate emails of unadulterated enthusiasm to authors when we really do fall "totally madly in love."

Okay, now, in all seriousness, it did help that another author of mine had called me to see if I'd be open to hearing about Therese's book. There is no question that I responded faster because of that connection. And of course, I'd be lying if I didn't admit that Allison's kind words didn't put me in a good frame of mind. So don't be shy about complimenting the agents that you are querying. That said, I would have requested this regardless because the book just sounded so good! Teri managed to capture the moodiness of her novel in 3 concise paragraphs, and lucky for me, delivered on that promise in her pages. I actually ended up using "Former musical prodigy, Maeve...." until the end of her query as the basis of my pitch letter to editors. (Teri's book sold at auction in a pre-emptive major deal to Shaye Areheart for two books!)

I was also impressed with Teri's fiction site, Writer Unboxed. It's a beautifully designed and wonderfully helpful site for authors that she co-founded, and it was clear, from a cursory glance, had put her heart and soul into. In other words, I could tell this was an author with a passion for writing and for books.

Finally, on the more business side of things, she also queried me around the time that books with elements of magic were catching on and even though "Javanese keris" and" fascinating mythology" weren't, at first glance, exactly what I was looking for in a book, the atmosphere of the world she described piqued my own growing interest in finding more books that flirted with the supernatural.

Want more on this subject?

Successful Queries: (Fiction) "Hotel on the Corner of Bitter and Sweet"

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Successful Queries | Women's Fiction

Monday, October 12, 2009 4:10:36 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Cold Querying Still Works
Posted by Chuck

This post on the PubRants blog was way too amazing not to mention. Guest blogger Megan Crewe, writing on agent Kristin Nelson's site, explains how she polled 270 successful fiction authors and asked them if they broke in with a referral (a personal connection with someone in the business) or whether they cold queried an agent with success.

The results came back and 62% of the authors got their agent with just a cold query. Pretty amazing - but more than that: encouraging! I remember agent Dan Lazar once saying that "A good query trumps all else - every time."

So take hope!

This is Megan Crewer's new book,
Give Up the Ghost.

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

Interview with "Query Queen" Wendy Burt-Thomas

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Queries and Synopses and Proposals

Monday, October 12, 2009 3:58:31 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Sunday, October 11, 2009

New Agent Alert: Myrsini Stephanides of the Carol Mann Agency
Posted by Chuck

Myrsini Stephanides
of the Carol Mann Agency

About Myrsini: She has 10 years of experience as a nonfiction editor and book packager specializing in highly illustrated books. Most recently, she worked as an Acquisition Editor at Sterling Publishing, where she developed the pop/culture and music category with titles including Woodstock: Three Days That Rocked the World, Canyon of Dreams: The Magic and the Music of Laurel Canyon, The British Invasion, and Record Store Days. Myrsini was the editor of the Weird travel series (Sterling), senior editor of The Duke Encyclopedia of New Medicine: Conventional and Alternative Medicine for All Ages (Rodale, 2006) and developmental/series editor of the first three books in the Men’s Health Best series (Rodale 2005). She has also collaborated on projects with The Smithsonian, Archaeology magazine and YANKEE Magazine and was a contributing writer to the fifth edition of the Hammond World Atlas (Langenscheidt, 2007).

Nonfiction areas of interest: pop culture and music, humor, narrative nonfiction and memoir, cookbooks.

Fiction areas of interest: offbeat literary fiction, graphic works, and edgy YA fiction. Can fiction be offbeat and commercial? She thinks it can. She is NOT looking for: Sci-Fi/Fantasy, Romance (adult); MG (middle grade) fiction

How to contact: For fiction, paste the first 10-15 pages of your manuscript into the body of your e-mail. Please e-mail your query letters to myrsini (at) carolmannagency (dot) com. If your query has a graphic component, attach it to your email as a low-res PDF or JPG.

Tips: Myrsini futher delves into what she wants and doesn't want on the CMA website. "Hook me with your query and keep me hooked with your proposal. If you’d like to connect via the magic of social networking, you can follow me on twitter or check out Goodreads to see what I’m reading now."

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | Graphic Novels | Literary Fiction | New Agency Alerts

Sunday, October 11, 2009 3:18:52 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

How I Got My Agent: Mary DeMuth
Posted by Chuck

This installment of "How I Got
My Agent" is by Mary DeMuth, who
has written three parenting books and
four novels. Her latest book is A Slow Burn.
She helps aspiring writers seeking
publication at http://www.thewritingspa.com/

TO THE CONFERENCE

I spent more than ten years writing in obscurity while my children were young. During that time, I created newsletters and short stories, always forcing deadlines on myself—and then meeting them early. When my youngest child started preschool, I dusted off my dream of writing a novel, completing it in four months. I also became a newspaper columnist and found success in writing for magazines. I attended a small, regional writers conference, then packed my bags for a major writing conference in the spring of 2003.

On the plane, my writing friend asked me what I hoped to accomplish there. I said something about finding a publisher. "Don't you want an agent?" she asked. "Are they really that important?" I asked. She shook her head in disbelief, then explained why I needed one.

We arrived in the wooded hills above San Jose, eager and ready to knock 'em dead. I sent ahead the first three chapters, a synopsis and a query letter from my novel Crushing Stone to three publishing houses. I retrieved my manuscripts with shaking hands. I tore open the envelopes and let out a breath. All three expressed interest. I hollered. And yelled. After writing in obscurity for so many years, the publisher’s approval validated me.

"I AM NOT LOOKING FOR CLIENTS"

I took the intermediate writing track taught by a big-name agent, the amazing Chip MacGregor, then with Alive Communications, now founder of MacGregor Literary. He said up front, "I am not looking for clients. I'm happy with my stable of authors." So, when I met with him, I didn't consider him as a possible agent prospect. I simply wanted to ask his advice. Chip was late for our meeting. I almost left. He came rushing in, apologizing. I told him I had some interest in my book and asked if he'd be willing to answer a few questions. He said sure. He asked for my proposal, and when I gave it to him, he said, "I've seen this before."

I wanted to die. In wanting to be efficient, I not only sent my proposal to the people at the conference, as instructed, but I also I sent it to his agency, even though I didn’t quite know the purpose of an agent. At the conference, I found out his firm did not accept unsolicited manuscripts, particularly from unpublished authors like me. In that, I violated the don't-send-your-stuff-if-you're-a-nobody rule. The reason he recognized it? My unusual stationary—not scented or colored, but it sported a curve on the right hand side. "Do you mind if I take this with me?" he asked. "Not at all," I said. We shook hands and parted ways.

THE CALL

I came home from the conference happy to know editors liked my writing, but discouraged to not have immediate interest. A few weeks later, I received an e-mail from Chip. He wrote, “You are one of the best new writers I've met and I'd like to talk about representation. Would you be interested?"

Would I?

I screamed. Hyperventilated a bit. I hollered some more. The children thought I was dying, so they raced upstairs, followed by my husband. I jumped up and down. Though they didn't know the reasons behind my pogo-ing, they joined me. Eventually I spilled out the e-mail's words. So, I received the email that supercharged my career, pulling me from obscurity onto the publication path. Within six months, I sold two books to major publishers!

Want more on this subject?

Read my interview with agent Chip MacGregor.

Read a "Successful Query" provided by Chip.

What are the BEST writers' conferences?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Christian Agents | How I Got My Agent Columns

Sunday, October 11, 2009 3:06:55 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Saturday, October 10, 2009

When You Get an Offer From an Agent - Your 'Moment of Power'
Posted by Chuck

At our recent WD conference, agent Jennie Dunham discussed something very interesting - a rare "moment of power" for a writer in their hunt for an agent.

She was discussing when you receive a offer of representation from an agent. A wise thing thing to do would be to not accept it immediately, but instead ask questions of the agent and then say that it's a big decision and you need a day or two to think it over. (This is good advice no matter what.) At that point, you hold some power, so, if you choose, you can write to a few other agents that you had work out to, and inform them that you have an offer. This allows these other agents to quickly read your work if they so choose, and then possibly offer their representation and make a case as to why you should sign with them vs. Agent No 1.

Pretty interesting stuff. A question that I immediately asked Jennie was "How long do you have?" - meaning how long will Agent No. 1 wait for you to get back to them. She said five days. I don't know if I would push it and wait that long. Three sounds safe. So if you get an offer of representation, you can choose to let other agents know, so they can read your stuff and make a case if they like.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contracts and Copyrights and Money

Saturday, October 10, 2009 2:37:19 PM (Eastern Daylight Time, UTC-04:00)

Comments [7]

Friday, October 09, 2009

Why Your Manuscript Can Get Rejected (Part II)
Posted by Chuck

At Killer Nashville, a trio of extremely knowledgeable publishing pros held a panel on the most common reasons why a manuscript is rejected by an agent. Below you'll find part two of this post series. (The first installment was with Hallie Ephron.)

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Panelist No. 2: Donna Bagdasarian

Donna's top reasons why your manuscript can be rejected:

1. Problems with basic writing skills—grammar, syntax, defining who the protagonist is. To be successful, aspiring writers must learn how to write—well.

2. Bad dialogue. Write like people speak.

3. Too much plot. Writers may read a variety of books by bestselling mystery authors and then try to take plot elements from several of these books, combining those elements into one convoluted tale. Write one book, not eight books crammed into one.

4. Not having the protagonist involved in the climax.

5. Spending too much time at the beginning of a story on a character who seems to be the protagonist, but isn't.

6. Supplanting quality for a gimmick. Take a moment and examine certain gimmicks, such as the following:
- Writing in the second person

      - Having many points of view
      - Having your book be very, very dark in nature
      - Having scenes in a backwards order

- Hopscotch (where you can jump around anywhere and the story still makes sense)

These gimmicks are unique, and can produce an extraordinary book, but they can only be pulled off by the most superior of writers—and most writers are not superior writers. Therefore, writers should pass on all such gimmicks and just try to tell a good story.

7. Excessive and salacious material. When your manuscript is complete and a peer/editor says "It needs more violence/sex/action/dialogue," they may be right, but inserting these aspects in the book must make sense. There can’t just be violence or sex in a story simply to have it. Make it work.

8. Know how much is too much. If you can cut a scene and the story still works, you must cut it. Ask of the scene: "Why is it here? What does it do to further the plot?"

9. Purple prose—writing where the reader is conscious that these are the author’s thoughts, not the character's. This is prose where the language is excessively flowery and/or lyrical.

Want more on this subject?

The first of this three-part series was with mystery writer Hallie Ephron.

The third of this three-part series was with editor Maryglenn McCombs.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns

Friday, October 09, 2009 11:13:39 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Thursday, October 08, 2009

Agent Advice: Nathan Bransford of Curtis Brown, Ltd.
Posted by Chuck

Agent Interview by

contributor Ricki Schultz.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Nathan Bransford of Curtis Brown Ltd. Nathan was born and raised in Colusa, California, where he learned a thing or two about rice farming, and graduated from Stanford University with a degree in English. Besides the usual agenting duties, Nathan is well known for his popular blog on agenting and publishing, widely regarded as one of the best (if not the best) blogs by literary agents on the Internet. In addition, he is a new writer of middle grade works, with his first book due out in 2011.

He is looking for: a wide range of genres and is particularly interested in literary fiction, narrative nonfiction, young adult fiction, historical fiction, mystery, science fiction, business, sports, politics and popular culture. He does not represent poetry or screenplays. He welcomes submissions via e-mail. Please send a brief description of your project (no attachments, please) to nb@cbltd.com.

GLA: How did you become an agent?

NB: I really love books and wanted to work with authors. When I graduated from college, I decided to go into publishing and found my way to Curtis Brown Ltd., where I started as an assistant. I've been with Curtis Brown ever since.

GLA: What's the most recent thing you've sold?

NB: The most recent deal I announced was a debut suspense novel, Rock Paper Tiger by Lisa Brackmann, which will be published by Soho Press in 2010. When the author queried me, it was one of the best I'd ever received, and the manuscript didn't disappoint.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

NB: I'd like to see a bit more nonfiction, but I'm really just looking for new, talented writers of all types.

GLA: How long have you had your blog?

NB: I've been blogging in earnest since early 2007.

GLA: Has the volume of submissions you get increased significantly since you started the blog?

NB: Definitely. I now receive somewhere between 15,000 and 20,000 queries a year, and I think the blog is the main reason behind the high volume. When the legendary anonymous agent blogger Miss Snark linked to me for the first time, I received several hundred queries almost instantaneously, and it's been a steady stream ever since. But I'm very thankful for the queries I receive, even if it's an ongoing challenge to keep up.

GLA: On your blog, you have an extensive list of tips, rules, and good/bad examples you refer to as "The Essentials," which you request writers read before querying. Where are new writers are going wrong in the queries you see?

NB: I always recommend that authors carefully target their agent search and personalize their queries, and I wish more authors took the time to do this. Personalization shows that an author has chosen to query an agent specifically and isn't simply blasting an e-mail out to every agent they can find on the Internet. It also means they've taken the time to research the business. All of these qualities bode well for the author's professionalism and the quality of the manuscript.
Queries also tend to be either way too long or way too short—it's surprising how few queries provide just enough information without being overly long. It shouldn't take much more than 250-350 words, but then, it shouldn't take only 50 either.

GLA: With regard to "The Essentials," do the queries you receive show evidence that the senders have done the homework?

NB: I'd say about 25% of the queries I receive really take the advice to heart. No matter how much advice is out there, not everyone is going to follow it.

GLA: You represent young adult fiction but tend to stay away from middle grade projects. Has this changed since writing and selling (congrats on your book deal, by the way!) a middle grade sci-fi novel? As well, do you find you lean more toward sci-fi when it comes to juvenile literature?

NB: Thank you! As an agent, I'm actually drawn more to the types of books I read than what I write. I may write sci-fi, but I read all types of books and don't really prefer sci-fi over other genres. I'm drawn to the author's talent and the particular stories they tell more than the genre they're writing in.
    When it comes to children's books, the projects I have taken on have been all over the map, from dark literary fiction to fun commercial genre fiction. I tend to lean more toward the young adult side of the children's book world as a reader and agent, but I'm open to the right middle grade project as well.

GLA: Two nonfiction categories you accept are "history" and "business." With so many books already written in these subjects, what must book proposals in these areas have in order to get you interested?

NB: For history and business, the author needs to have impeccable credentials, the writing talent to engage the reader, and must be addressing the topic in a unique fashion and/or charting new territory. It's a tricky and somewhat rare combination, which is why there's such a premium on the authors who possess all of these qualities.

GLA: In addition, you represent sports-related books. What topics are you tired of seeing in this area?

NB: I'm definitely open to sports nonfiction, but fiction in the sports world can be somewhat tricky. In real life, sports already provides such a compelling ongoing narrative, and sports novels that try only for verisimilitude can sometimes have a difficult time competing with what's actually happening in the real word. I mean, Cincinnati Bengals wide receiver Chad Johnson legally changed his name to Chad Ochocinco because his jersey number is "85." How can a novel compete with that?
        In order for a sports novel to work it usually has to be what I call "sports plus." Literary sports novels have worked, historical sports novels have worked, children's sports novels have worked, suspense novels in the sports novels have worked, etc. But just a "sports novel" is difficult.

GLA: You are a self-proclaimed "e-book aficionado." Having embraced what many believe will take over the publishing world, do you have any advice on how writers can maximize their success in this changing industry? What are your thoughts on the future of publishing?

NB: Things are going to be changing very rapidly in the business in the coming few years as e-book adoption continues to rise. The business is going to have to adapt, and it may necessitate new business models.
        But I don't think everything is going to change. People will still want to read books, there will still be a demand for great books, and authors will still be needed to write them. The delivery of those books to readers may change, but books aren't simply going to disappear.
        The most important thing an author can do as the world of books changes is to keep doing what they've always been doing: write as well as they possibly can. After that, it's a matter of letting the chips fall as they may. Even if they're digital chips.

GLA: Best piece(s) of advice we haven't talked about yet?

NB: I like to encourage authors to engage in "productive procrastination." Everyone needs to take breaks while writing from time to time, but instead of fiddling with fonts and the cover page, instead: read industry blogs and newsletters and try and find out as much about the industry as possible. I'm always looking for authors who demonstrate a high level of professionalism and take the time to learn the ins and outs of the business. There's a whole lot of great information out there, and authors who take the time to learn about the business before querying agents and read industry blogs (like your GLA blog) will have a big leg up.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How to Write a Query Letter.

Agent interview: Elizabeth Pomada of Larsen-Pomada Literary Agents.

Agent interview: Michelle Brower of Folio Literary Management.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Children's Writing | Nonfiction

Thursday, October 08, 2009 2:28:32 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Wednesday, October 07, 2009

Successful Queries: Agent Kristin Nelson and 'Hotel on the Corner of Bitter and Sweet'
Posted by Chuck

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 15th installment in this series is with agent Kristin Nelson (Nelson Literary) and her author, Jamie Ford, for his book, Hotel on the Corner of Bitter and Sweet.

Dear Ms. Nelson:

I must admit I hate Asian stereotypes. You know the ones. Good at math. Hardworking. We all look alike. Come to think of it, that last one might hold water. After all, my father once wore a button that read “I am Chinese,” while growing up in Seattle’s Chinatown during WWII. It was the only thing that separated him from the Japanese, at least in the eyes of his Caucasian neighbors.

Sad, but true. Which is probably why my novel has a little to do with that particular piece of history.

Anyway, the working title is The Panama Hotel, and when people ask me what the heck it’s all about I usually tell them this: “It’s the story of the Japanese internment in Seattle, seen through the eyes of a 12-year-old Chinese boy, who is sent to an all-white private school, where he falls in love with a 12-year-old Japanese girl.”

But it’s more complicated than that. It’s a bittersweet tale about racism, commitment and enduring hope––a noble romantic journey set in 1942, and later in 1986 when the belongings of 37 Japanese families were discovered in the basement of a condemned hotel.

This historical fiction novel is based on my Glimmer Train story, "I Am Chinese," which was a Top 25 Finalist in their Fall 2006 Short-Story Competition For New Writers. An excerpt was also published in the Picolata Review.

Think Amy Tan, but with a sweeter aftertaste.

Thank you for your consideration and time,

Jamie Ford

The Panama Hotel
Historical Fiction 86,000 words / 353 pages

About the author: James “Jamie” Ford grew up near Seattle’s Chinatown and is busy writing his next novel, Rabbit Years. In addition to his Glimmer Train accolades, he took 1st Place in the 2006 Clarity of Night Short Fiction Contest. Jamie is also an alumnus of the Squaw Valley Community of Writers.

He hangs out at www.jamieford.com and has been known to eat jellyfish, sea cucumber and chicken feet on occasion.

Commentary From Kristin

I was really caught by Jamie's personal connection to the history he plans to explore. I've never heard of the "I am Chinese" buttons, which is kind of fascinating.

I've never seen a novel about a Chinese boy falling in love with a Japanese girl during such a volatile time period. I have to say that I was pretty much hooked by this story concept. Simple, but there's a lot of weight behind it. I did happen to know that the Chinese and the Japanese had long been at war before the advent of WWII, so I knew of the general animosity between the countries--but I knew nothing of how that might have played out on American soil.

I knew I was going to ask for sample pages, but I have to admit that his "But it's more complicated than that" paragraph made me pause. Dual narratives are tricky and extremely hard to pull off. I would only know if the author succeeded by asking for sample pages. I was struck by the belongings being discovered in an old hotel. This ends up being a true story and was part of what sparked Jamie to write the novel. I didn't find out this info until later and I must say that if included, it could have added power to the query letter.

It always helps to know there has been some previous recognition and Jamie mentions his Glimmer Train credit and literary creds. I would have asked for sample pages without the mention though. His last sentence about himself made me smile and that's never a bad thing.

Now here's what's interesting. As I mentioned on a previous blog, an agent friend of mine received the same query and it didn't spark his interest at all. Now he freely admits that he was in a time crunch at the time he received it. That can change our response. If he hadn't been, he might have paid a little closer attention but for the most part, this query didn't float his boat much.

And that just highlights the subjective tastes of agents.

(Kristin suggested changing the title, and she and Jamie decided on Hotel on the Corner of Bitter and Sweet.)

Want more on this subject?

How to Write a Query Letter.

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Successful Queries

Wednesday, October 07, 2009 9:58:23 AM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Tuesday, October 06, 2009

Sign Up For My Webinar: 'How to Land a Literary Agent'
Posted by Chuck

You hear me talk a lot on this blog about the writers' conferences I attend and the presentations I give on agents and pitching. Well, if you've ever wanted to attend such a conference but can't because of money or proximity issues, here is your chance to listen in and ask questions from your computer at home!

I'm teaching a webinar at 1 p.m. EST, Thursday, Oct. 8 on "How to Land a Literary Agent."

Here's the gist:

You've finished your masterpiece. It's as good as you hoped it would be - but you're dreading the next step: finding a literary agent. This next step involves queries, synopses, selling your idea and much more. It's a completely different monster than actually sitting down to write.

If you're looking for guidance in the agent-hunting process or have questions that need answering, sign up for my webinar, "How to Land a Literary Agent," at 1 p.m., Thursday, Oct. 8. There's a reason that "How to Land a Literary Agent" is WD's most popular webinar. It's because the online session crams tons of info into 90 minutes. Subjects I'll be talking about include, but are not limited to: queries, pitching, proposals, synopses, conferences, avoiding scammers, where to find agents, self-publishing, and how to pick the best one for you.

Do you know how to begin a query letter to an agent? I'll show you. Do you wonder about contacting multiple agents at the same time? We'll discuss that. Are you curious about how to protect yourself and your ideas from scammers and rip-off artists? We'll address that, too - and more. After editing the Guide to Literary Agents for three years and attending writers' conferences all over the country, I've learned all the ins and outs of how to snag a rep who can sell your work. If you sign up for this webinar, I can pass on what I've learned to you.

Also, attendees are free to ask as many questions as they like. Go on - hit me with your best shot! I'll be answering questions live in real time, and I will address all questions afterward and e-mail you the answers.

Webinars

Tuesday, October 06, 2009 11:46:45 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

What Should You Write in the Bio Paragraph of a Query Letter?
Posted by Chuck

As I mentioned before, a good query letter is broken down into three parts - the quick intro, the pitch, and the bio. Strangely enough, the third part is where I get the most questions. In fact, at this past weekend's Writer's Digest editors' intensive, there were a ton of questions about the bio paragraph - "Should I include this?" "How should I work that?" Etc.

So with all that in mind, I have tried to cobble together some notes on what to include and what not to include in a query letter at the end when you're talking about yourself and your writing.

Before you read on, I must warn you that you should not underestimate the value of just saying little and moving on. If you don't have anything notable to say, there is nothing wrong with simply saying that the manuscript is complete, and "Can I send you (pages/the full manuscript)?"

YES: INCLUDE THESE ELEMENTS

Prior writing credits. Obviously, this is a big one. Feel free to skip titles and just list publications. For example, feel free to say, "I've written articles for several magazines and newspapers, including the Cincinnati Enquirer and Louisville Magazine." Notice how the article titles weren't included and the writer could explain more, but this gets the job done. Brevity is appreciated here.
       Short story credits are good here; articles are good. If you got paid for writing, you can mention it here - just do so humbly and quickly. Poetry is probably the least impressive note. If you were paid to get your poetry published, that may help a little.
       Obviously, past credits within the category at hand are of the most value, but any and all credits are good. For example, if you are query a nonfiction project, your history of published articles is more impressive than a short story being published. However, mentioning the short story is not a bad thing.

Contests and awards. For instance, if your story was a finalist in the adult romance category contest at a writers' conference, say so.

If you have an MFA somewhere. (Saying you majored in English really won't do much, nor will mentioning your continuing online education.)

If you are part of a large, recognized, nationwide writing organization - such as the Romance Writers of America (RWA), the Mystery Writers of America (MWA), the Society of Children's Book Writers and Illustrators (SCBWI), the Society of Professional Journalists (SPJ), the American Medical Writers, etc.

Platform and publicity - but mainly for nonfiction. If you're writing nonfiction, suddenly the bio paragraph becomes the most important part of the letter. You must explain your credits, bio and platform - making a case that you are the best person to write this book and you have some means in place to sell it. If you're writing fiction, this can still help, but it matters less so.

NO: SKIP THESE ELEMENTS

Your writing influences.

That you are part of a local writers group or online group. Unless it's a large nationwide group, skip it.

The fact that you're a parent and have X number of children, which, you believe, helps make a case for you as a kids writer.

How long it took you to write it.

That this is your first novel.

The fact that it's been edited by peers or even a professional editor. Stuff is supposed to be edited; agents assume it is. Stating what they already assume helps nothing.

That the story is copyrighted with the U.S. Copyright Office. Or that you own all rights to the story.

That you are also writing the screenplay adaptation of the work. Another subject completely, not to be discussed in a query.

Anything about pen names. You're thinking too far ahead.

That your family and friends loved it.

That the story is fiction but based off truth and/or your life. All fiction is based off truth and/or a life, so this is, again, telling agents what they already know.

That the book has been rejected before.

Which draft of the novel this is.

BUT WHAT ABOUT?

But what about my career, Chuck?
        This is tricky. First of all, if you mention this, mention it quickly. If you get paid to write during the day, tell us. For example, if you get paid to write technical copy during the day, by all means say so. If you work in children's bookstore, that's probably OK, too. But if the main character is an electrician or computer programmer, and you yourself are an electrician or computer programmer, I say skip it. It really doesn't matter that much. People like to include this fact anyway.
       Over the weekend, a gentleman asked about this very thing and if he should say he served in the Marines since his protagonist was a Marine. I said yes, because I think that could serve as a notable publicity angle down the road.

But what about my connection and research to the subject matter at hand, Chuck?
        If you look at the Successful Queries posted on this blog, you see one where an agent compliments a writer who said she studied belly dancing and the book is about belly dancing. Another compliments the writer for saying she has been to and researched Amish country and the book is about Amish country. Once again, these comments are made quickly by the author - just like they should be.
       There are subtle things here. Let's say your book is about Sioux Indians. If you spent six months in the library researching Sioux life, that is not worth mentioning. However, if you spent two months living among the Sioux people on such-and-such reservation, then that is more interesting and worth a mention.

But what about marketing and PR, Chuck?
       Again, tricky. If you're writing nonfiction, your background and skills in these areas is very, very important. However, if you are writing fiction, this matters less so. Your writing credits and awards will be more important. I would lean against mentioning these skills in a fiction query.

Want more on this subject?

Agent Michelle Andelman's tips on query writing.

Should you mention your age in a book query?

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals

Tuesday, October 06, 2009 5:36:58 PM (Eastern Daylight Time, UTC-04:00)

Comments [10]

The (Second) 'Worst Storyline Ever' Contest!
Posted by Chuck

This contest is now CLOSED (as of Oct. 6).
Thank you to everyone who
submitted. Judging will take place in the next 7 days or so
and winners will be notified by e-mail just before I make
the results public. Thanks!

--------------------

Have you got a horrible idea for a story? Well I want to hear about it. Welcome to the "Worst Storyline Ever" Contest - a competition that encourages terrible loglines. This contest happened once before, so feel free to check out that go-round. (If you have any problems or concerns, email me at literaryagent@fwmedia.com.)

"Worst Storyline Ever"

Contest

A logline is a one-sentence line that explains what your story is about and shows the "hook" - the unique idea that makes people want to see more. You see loglines all the time in TV Guide and on the back of DVD boxes. Here are some examples:

"Three middle-aged men defeat their midlife crises by starting a college fraternity." (Old School)
"When a Roman general is betrayed and his family murdered by an evil prince, he comes to Rome as a gladiator to seek revenge." (Gladiator)
"In a future where criminals are arrested before the crime occurs, a cop struggles on the lam to prove his innocence for a murder he has not yet committed." (Minority Report)

But that's all the examples I'm going to give you, because I'm not looking for good examples of a logline; I'm looking for bad examples. Nay - terrible, stupid, "oh-my-God-that-idea-is-dumb-as-hell" examples.

Examples of Bad Loglines

1. "After the death of his goldfish, a priest renounces his faith and gets a job at the local White Castle, where he becomes addicted to special sauce and tries to dance his way to getting respect on the streets."

2. "A man's lifelong plan to dress up like Jabba the Hutt and star in a new line of workout tapes finally comes to fruition, but everything goes horribly awry when the man gets ink poisoning, lead poisoning and mercury poisoning all at once."

3. "When a woman dies and is reincarnated as a power saw, she uses a telepathic link with feral cats to help trick and trap and kill her former-lover-turned-murderer-turned-taxidermist."

Here are the rules:

1. Stick to the format, but have fun with the idea. You want your logline to be one sentence only and must be 60 words or fewer, and explain what the movie is about. It's what you put in that one sentence that will win you this competition. So the trick is to make your logline a terribly creative idea that's pitched in a professional manner.
2. The contest will go until the end of the day, 11:59 p.m., PST, Monday, Oct. 5. Submissions received after that will not be considered.
3. I will judge the contest, with some possible input from other WD and WD Books staffers.
4. To participate, simply click on "Comments" at the end of this post and leave your submission as a comment with your full name and e-mail. You must include your full name and e-mail. If you are super paranoid about leaving your name (Google!), use "L. Martin Smith" instead of "Leonard Smith."
5. You can submit up to two (2) bad loglines. You can include both in the same comment post as you wish.
6. The contest is open to everyone of all ages, save those employees, officers and directors of GLA's publisher, F+W Media (formerly F+W Publications).
7. There are a lot more rules (most of them dealing with legal stuff) that you can find in the comments section of this post.
8. By posting a terrible logline for consideration in this contest, you are agreeing to the terms written here as well as the terms added by me at the beginning of the "Comments" section of this blog post.

The Prizes:

First prize (grand prize): 1) A query letter critique from me. 2) A follow-up phone call to discuss the query critique and a plan of action for seeing your work published (basically: you ask questions, I answer). 3) A copy of the 2010 Guide to Literary Agents; 4) a one-year subscription to WritersMarket.com; 5) Praise on this blog from yours truly.

Two runner-up prizes: 1) A free copy of any one (1) of the following books: the 2010 Guide to Literary Agents, the 2010 Writer's Market; the 2010 Novel & Short Story Writer's Market; or the 2010 Children's Writer's & Illustrator's Market; 2) a one-year subscription to WritersMarket.com.

Good luck!!!

New to The Guide to Literary Agents blog?

We have tons of interviews with literary agents!

See examples of real query letters that snagged agents.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Contests

Tuesday, October 06, 2009 3:02:52 PM (Eastern Daylight Time, UTC-04:00)

Comments [164]

Monday, October 05, 2009

How to Handle an Exclusive
Posted by Chuck

Q. I need some advice. I recently went to a writers' conference and pitched an agent, who told me to send her my full manuscript. When I got home from the conference, I sent some more queries out (because I didn't want to limit my options to just the one). I haven't sent the first agent my manuscript yet, because I was taking a few days to make a final proof-reading sweep. But just now I just got a response from one of my other queries for a partial, and the new agent wants a four-week exclusive on the chapters. What do I do?

A. I would tell Agent 2 that Agent 1 already has it. This is not completely true, but it's basically true (truthiness?) because you were about to send it anyway to Agent 1.
You can offer Agent 2 an almost-exclusive look at the pages. I would say she will take the pages anyway and you have nothing to worry about. Agents want exlcusive looks at pages, but they understand if it's already out.

Want more on this subject?

Blog post: Exclusive submissions & treading carefully.

Will a literary agent find your work online and sign you?

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Exclusives | Questions Submitted by Readers

Monday, October 05, 2009 10:25:38 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

The 'Starman' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will start to get a sense of how they work.

Now, while wasting some time on Wikipedia the other day, I came across the page for the 1984 sci-fi movie, Starman. I've heard of the movie, sure, but never seen it. Anyway, upon reading the plot, I was captivated - and wanted to show you an example of an excellent synopsis. Read it below. See how characters are introduced, conflict is introduced, the three-act structure is apparent, and it slows down at the moments where we need to slow down and taste the story.

Starman

In 1977, a small scout vessel of an alien race comes to Earth but is shot down by the U.S. Government. Crashing in Wisconsin, the alien, as a blue ball of energy, finds a lock of hair of the deceased Scott Hayden in a photo album and uses it to clone a new adult body in the likeness of Scott. This “STARMAN” then sends a message to his people that the environment is hostile and requests extraction in three days at “Landing Area One.”

The cloning occurs in the home of Scott's young widow, JENNY HAYDEN. After being awakened by intense light, Jenny first believes her husband has miraculously returned, but soon realizes this creature is not Scott. Meanwhile, the Starman reveals his only possession: seven small spheres that he turns into pure energy to perform miraculous feats. He uses one to create a map in order to compel the dumbstruck Jenny to take him to Arizona.

The trip to Arizona begins, and Jenny is both hostile and frightened of her new guest. After repeated unsuccessful escape attempts, she finally implores the Starman to kill her and get it over with. Instead, the Starman releases the pistol's magazine and tells her he means her no harm. As they continue on their journey, the Starman, who has a rough understanding of English syntax, learns to communicate his presence to Jenny, and Jenny teaches the Starman that humanity is not completely savage.

Jenny understands the Starman needs her help to get to a meteor crater in three days or he will die, so she teaches him how to drive an automobile and use credit cards—intending on escaping so he can continue his journey alone. However, she witnesses him miraculously resuscitate a deer that had been shot by a hunter. Deeply moved by the action, she resolves to help him at whatever cost.

Along the way, the couple is pursued by the U.S. Army, who detected the crash. The contingent is led by a cold-blooded NSA chief GEORGE FOX, who is reluctantly assisted by a decidedly more humane civilian scientist, MARK SHERMIN. While investigating the Starman’s downed craft, Shermin finds a Voyager II phonographic disk, explaining the Starman’s rough understanding of Earth’s languages, and also revealing that the Starman is here in peace after being invited.

As they make their way to Arizona, the Starman's understanding of humanity (and being human) increases through direct experience and from some explanations by Jenny, who in turn finds the Starman to be a tender, sincere, vulnerable, and loving being. Jenny asks the Starman about his world, and he explains they are one people with one language and one law, and there is no hunger or hurt or war, but they have “lost something”—the vibrancy that comes from diversity, such as can be found on Earth.

Police find and attack Jenny’s car, and she is injured. The Starman, down to his last two silver spheres, uses one to heal her. He then leaves her to attempt to reach the crater alone, as he is afraid she will be hurt again. Jenny catches up to him and they continue together. While hitching a ride on a boxcar, the couple connect and make love. Later that night, the Starman tells Jenny she is pregnant with a son. When Jenny tries to explain she is barren, the Starman tells her to believe him—and that the baby will be not only the son of her dead husband, but also his son, that he will know all that the Starman knows, and when he grows up, he will become a “teacher.” Jenny asks the Starman to show her his star, so she can show the baby where his father came from.

At the end of the journey, the Starman is captured by the government in a cafe. There, the dying Starman tells Shermin that his people are interested in mankind because they are a beautiful species (“You are at you best when things are at their worst”). Shermin decides to ruin his career to help the Starman and Jenny escape. The couple reach the crater as Army helicopters buzz them. A large reflective sphere appears in the sky and enters the crater. The Starman tells Jenny he will never see her again. Jenny confesses her love and begs him to take her with him, but he says she would die on his world. He then gives her his last silver sphere, telling her the baby will know what to do with it. The ship rises, taking her Starman away forever.

Want more on this subject?

Read about Everything You Need to Know to Write a Novel Synopsis.

Concerning names and backstory in a synopsis.

Read another good synopsis: Peggy Sue Got Married.

Read another good synopsis: Proof of Life.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Synopsis Writing

Monday, October 05, 2009 10:01:53 AM (Eastern Daylight Time, UTC-04:00)

Comments [6]

Thursday, October 01, 2009

What's In a Pitch? Examining 'The Extraordinary Adventures of Alfred Kropp' (Book One)
Posted by Chuck

What's In a Pitch? is a new series that takes actual novel pitches and examines why they work successfully. This series is designed to help writers who need help composing the pitch paragraph of their query letter, or pitching an agent in person.

By the way, since I read mostly kids fiction, it will be mostly kids fiction here, too, but the framework of a successful pitch is the same no matter what category or genre you're writing. Today's pitch to dissect is (young adult) Rick Yancey's The Extraordinary Adventures of Alfred Kropp.

THE EXTRAORDINARY ADVENTURES OF ALFRED KROPP

Alfred Kropp is the last person you'd think could save the world. But when this oversized underachiever gets roped into a suspicious get-rich quick scheme, his life takes a turn for the extraordinary. Little does Alfred know he has been tricked into stealing Excalibur--the legendary sword of King Arthur--and the most powerful weapon ever wielded by man.

With an ancient order of knights in hot cars, thugs on motorcycles, and a mysterious international organization following his every lumbering step, Alfred undertakes a modern-day quest to unravel a thousand-year-old mystery and return the sword to its rightful place.

Why Does This Pitch Work?

Like the other pitches examined, in this one: Alfred, our hero, is immediately introduced. It doesn't start out talking about the history of Excalibur, or Arthurian legend for that matter. It starts with Alfred. Not only that, but Alfred is easy to like because of how Yancey calls him an "oversized underachiever." This clever play on words immediately tells us that he is a lovable oaf who has never really done a whole lot - but he will.

Then the big hook lands. Excalibur, the magical sword of legend, is actually real - and Alfred has unleashed its power onto the world. Good hook. Hard to resist. It has magical and fantastical elements to it, but you can see from the rest of the pitch ("hot cars," "motorcycles") that this story is based in reality and the present time.

The stakes are clear: The most powerful weapon on Earth is in the wrong hands - and that means humanity itself is at stake. Alfred has unintentionally endangered the world and he is on an adventure to right his wrongs. Very nice. Buy the book!

Want more on this subject?

What's in a Pitch? Examining "Alibi Junior High."

How to Maximize an Agent Pitch Slam.

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Children's Writing | What's In a Pitch

Thursday, October 01, 2009 11:40:11 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Cover Band Soap Opera: Poison's 'Talk Dirty to Me'
Posted by Chuck

For anyone who follows the ridiculous adventures of my Cincinnati rock cover band, you may have noticed that I don't put video up on us. Truth is, I'm self-conscious. Someone missed a note, or this didn't sound right, or that's blurry, blah blah blah.

Well, no more of that. This is my band playing "Talk Dirty to Me" by Poison at a recent summer show. That's me playing guitar on the right side of the stage.

Cover Band Venting

Thursday, October 01, 2009 11:10:30 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

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